Weltstillwoche · Edition 01

Nähe, die bleibt.

Fioletowa identyfikacja kampanii bliskości. Komplet logo, kierunek wizualny i praktyczne materiały dla kolejnych realizacji MILKIES oraz DIY by MILKIES.

Weltstillwoche — matka z dzieckiem
10plansz brandkitu
11wersji językowych logo
Light / DarkWeb i Full 3D

Kierunek wizualny

Jeden świat. Dziesięć zastosowań.

Otwórz obraz, aby obejrzeć wszystkie detale. Każda plansza jest oddzielną, kompletną generacją natywną.

Pliki użytkowe

Logo na Twój rynek.

Przezroczyste PNG. Wersje WEB to kopie oryginalnych płaskich plików, dostosowywane rozmiarem w CSS.

Elementy dodatkowe

Symbole, motyw i powierzchnie.

Oryginalne obrazy 1254 × 1254 px. Ikony są plikami źródłowymi do dalszego wdrożenia.

Kolor / Typografia / Reguły

Gotowe do wdrożenia.

Otwórz próbkę WEB

Violet
#8A5AA5

Plum
#4F2873

Lilac
#F5EEFA

Night
#251330

Lavender
#C9A7E1

Prawdziwy font

Nunito Sans

Aa Ąą Ćć Ęę Łł Ńń Óó Śś Źź Żż · ÄÖÜß · ÀÉÊÇ · ÁÃÕ

Lokalny font zmienny z licencją OFL. Typografia logo pozostaje osobnym obrazem.

Pobierz font · Licencja

Materiały kampanii i warunki promocji

Ten zestaw ustala identyfikację wizualną. Daty, rabaty, progi, prezenty oraz linki docelowe wymagają osobnych zatwierdzonych danych. Plansze prezentują kierunek; nie są opublikowanymi reklamami ani gotowymi plikami do drukarni.

Otwórz pełny katalog plików →

Wszystkie pliki

Plansze, assety, źródła, fonty, dokumentacja i kod. Rozpakuj cały ZIP, aby korzystać z podglądów i pobierania offline.

217 plików

AGENT_HANDOFF.md

AGENT_HANDOFF.md

MD · 2,154 B

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# Start here · Weltstillwoche v1

1. Open `index.html` after extracting the whole ZIP. It previews and downloads all delivered files offline. Use the locale selector and light/dark backdrop to assess transparent artwork.
2. Load `DESIGN.md`, `VISUAL_LOCK.md`, `exact-copy.json`, `campaign-contract.json` and `tokens.json` before producing a channel asset.
3. Choose an exact identity key, then an exact brand/market/locale/currency offer record. DE/AT share one identity; BE-NL and BE-FR are separate. Do not reuse EU Breastfeeding wording for UK Babywearing.
4. Logos: `assets/logos/<key>/light.png`, `dark.png`, `full-3d.png`. `web-light.png` and `web-dark.png` are byte-identical compatibility copies of the corresponding flat native PNGs, not newly drawn logos. Preserve aspect ratio. Backgrounds and any icon derivatives are identified in the manifest.
5. WEB: import `web/theme.css`, use the local Nunito Sans font, apply `.dark` on the root for dark mode. `web/specimen.html` is an offline implementation specimen, not a live store or a deployed campaign.
6. Confirm product packet and commercial tuple before numerical promotion output. The current contract intentionally leaves offer, gift, dates, eligibility and destination unknown. Currency routing is proposed and must be verified against the receiving store.
7. Use the selected recipe under `creative/channel-recipes/`. Reflow for its real format. Never crop a foundation board into a production banner or treat generated jewellery as a verified SKU.
8. Do not deploy, change prices, mutate Airtable, send newsletters or publish ads under brandkit authority.

Approval boundaries: the owner's current approval covers localized campaign identities and purple direction. Generated illustration is not factual evidence. Read `qa/report.json` for remaining unverified gates; do not upgrade a structural check into exact logo reproduction, browser compatibility or print certification.

Provenance: current approved raster originals are preserved byte-for-byte under `sources/identity-originals/`. Rejected concepts, earlier colors, private records and historic campaign artwork are excluded.

DESIGN.md

DESIGN.md

MD · 27,935 B

Pokaż treść
# MILKIES · Weltstillwoche

**Edycja v1 · 30 września 2026 · identyfikacja kampanii w zatwierdzonym fiolecie.**

Otwórz `index.html`, wybierz rynek i pobierz właściwy wariant logo. Do kolejnej realizacji przekaż `VISUAL_LOCK.md`, `exact-copy.json`, `campaign-contract.json`, wybrane PNG oraz ten dokument. Dla WEB dodaj `tokens.json` i `web/theme.css`.

Dokument powstał po obejrzeniu wszystkich dziesięciu finalnych plansz, w tym naprawionej 07. Zatwierdzenie właściciela dotyczy motywu logo, fioletowego kierunku oraz nazw i pokazanych wersji językowych. Daty i mechanika oferty pozostają nieustalone. Przykłady artystyczne nie są dowodem o rzeczywistych produktach lub klientach.

**Spis treści:** 01 Tożsamość · 02 Strategia · 03 Dowody wizualne · 04 Logo · 05 Kolor · 06 Typografia · 07 Układ · 08 WEB · 09 APP · 10 Fotografia · 11 Forma i materiały · 12 CREATIVE · 13 Kanały · 14 Dostępność · 15 Wdrożenie · 16 Kontrola i zarządzanie.

Statusy reguł: `user_locked` = wybór właściciela; `observed` = widoczna cecha finalnych obrazów; `implementation_decision` = precyzyjna decyzja wdrożeniowa; `unknown` = brak potwierdzonej wartości; `unverified` = nieprzeprowadzony lub niepełny test. Warstwy: CORE wspólna tożsamość, WEB prawdziwy tekst i interakcja, CREATIVE obraz i przestrzenna ekspresja.

## 01. Tożsamość, edycja i szybki start

**ID C01 · CORE · user_locked · plansze 01–02 · `exact-copy.json`, `sources/identity-originals/`.** To kampania MILKIES z osobną ścieżką zastosowań DIY by MILKIES. Nie zastępuje stałej identyfikacji korporacyjnej. Zachowano 11 zatwierdzonych oryginałów rastrowych; ich bajty i sumy kontrolne pozostają źródłem odniesienia. DE i AT współdzielą jeden plik. Belgia otrzymuje osobny wariant niderlandzki i francuski.

Hierarchia autorytetu: aktualne polecenia i zatwierdzone oryginały → finalne materiały tej edycji → jawne tokeny wdrożeniowe → przykłady. Nie odtwarzaj geometrii logo z nazwy fontu ani z podobnego materiału. Pliki PNG są natywnymi wariantami obrazu, nie wektorowym masterem ani identycznym pikselowo wycięciem oryginału.

Foldery: `boards/` = dziesięć kompletnych plansz; `assets/logos/` = lokalizacje i warianty; `assets/symbols/`, `app-icons/`, `patterns/`, `backgrounds/` = dodatkowe elementy; `assets/fonts/` = prawdziwy font i licencja; `creative/` = prompty i adaptery; `web/` = kod i próbka; `qa/` = sprawdzenia; `sources/` = tylko obecna zatwierdzona tożsamość i jej źródła.

Oryginalnego znaku korporacyjnego MILKIES nie udało się pobrać z dostępnego źródła. Nie dołączono jego rekonstrukcji. Napisy MILKIES / DIY by MILKIES na planszy 07 są etykietami gałęzi, nie podrobionymi logotypami.

## 02. Strategia, ton i lokalizacja

**ID C02 · CORE · implementation_decision oparta na user_locked · plansze 01, 04, 07–09 · `campaign-contract.json`.** Punktem wyjścia jest codzienna bliskość rodzica i dziecka: dotyk, wspólny spokój, materiał zapamiętany przez skórę. Obraz ma być ciepły i dorosły. Porcelanowa typografia dostarcza energii kampanii, a fotografia zachowuje ludzką skalę.

Ton: bezpośredni, czuły, konkretny, bez infantylizacji. Krótkie zdania. German creative headline: **„Nähe, die bleibt.”** To artystyczna propozycja tej edycji. Dodatkowe frazy na planszach: „Ein Moment für uns.” i „Kleine Momente. Große Nähe.”. Nie stanowią nazwy kampanii ani obietnicy terapeutycznej.

| Stosuj | Unikaj |
|---|---|
| „Ein Moment für uns.” | Gwarancji szczęścia, leczenia lub ukojenia |
| Nazwy rynku dokładnie jak poniżej | Automatycznej podmiany Babywearing na Breastfeeding |
| Faktów oferty z aktualnego rekordu | Domyślnych rabatów, prezentów i sztucznego odliczania |

W komunikacji: PL „Ty”, DE „Du”, EN „you”; dla angielskiego brytyjska pisownia, np. jewellery i colour. Nazwy PL i UK celowo mówią o noszeniu/bliskości; pozostałe odnoszą się do karmienia. Nie traktuj ich jako literalnych tłumaczeń jednego międzynarodowego wydarzenia. Terminów tych wydarzeń nie weryfikowano i nie ustalano.

| Klucz | Dokładna nazwa kampanii |
|---|---|
| DE-AT | Weltstillwoche |
| PL | Międzynarodowy Tydzień Noszenia & Tydzień Bliskości |
| NL | Landelijke Borstvoedingsweek |
| PT | Semana Mundial do Aleitamento Materno |
| EU | International Breastfeeding Week |
| IT | SAM – Settimana Mondiale per l'Allattamento Materno |
| BE-NL | Wereldborstvoedingsweek |
| BE-FR | Semaine mondiale de l'allaitement |
| UK | International Babywearing Week |
| ES | Semana Mundial de la Lactancia Materna |
| FR | Semaine Mondiale de l'Allaitement Maternel |

## 03. Dowody wizualne dziesięciu plansz

**ID C03 · CORE / CREATIVE · observed · plansze 01–10 · `observations.json`.** Poniższe obserwacje odnoszą się do końcowych bajtów i są powiązane z ich hashami. Nie są certyfikatem zgodności geometrycznej oryginalnego znaku ani fontu.

- **[01](boards/01-campaign-world.png)**: Pale lilac daylight field; a flat mother-and-infant campaign emblem above the German wordmark; glossy rounded violet relief headline “Nähe, die bleibt.”; large soft enclosing arcs framing a mother kissing a sleeping infant. Linen swatch and porcelain disc link the emotional scene to tangible soft/textural and ceramic material cues. Three unlabelled palette circles demonstrate role contrast, not exact color metrology.
- **[02](boards/02-logo-system.png)**: A four-part logo system: flat violet/plum artwork on lilac, lavender/white artwork on deep plum, standalone mother-and-infant symbol, and a porcelain-relief logo. Light/Dark/Symbol/3D labels distinguish uses. Identity topology is visually retained, while generated occurrences are not pixel-identical source reproductions.
- **[03](boards/03-palette-type.png)**: Five raised material swatches labelled #8A5AA5, #4F2873, #F5EEFA, #C9A7E1, #251330; left WEB text labelled Nunito Sans and right CREATIVE “Nähe” in rounded porcelain relief. The bottom dark strip combines symbol and pale wordmark. Labels document intended token values; rendered shading is not a color measurement, and the native font label does not prove actual font outlines.
- **[04](boards/04-photography.png)**: Three close documentary-style scenes: mother and awake infant, infant gripping an adult finger, and a mother kissing a bundled sleeping child. Broad violet curves divide organic panels. Skin texture, knit/linen fabric and gentle window daylight support intimacy. No jewellery or product SKU is depicted.
- **[05](boards/05-type-ui-motifs.png)**: Large porcelain-relief headline over lilac material and cloth. The lower area presents filled and outlined actions, light/dark controls, flowing open arcs and a secondary outline heart. Native UI examples retain material/shadow styling; the included WEB implementation uses flat accessible controls. The heart is a secondary creative motif, not replacement campaign logo geometry.
- **[06](boards/06-social.png)**: Square and tall social examples combine the mother/infant campaign emblem, rounded relief German headline and pill-shaped Entdecken action. One example shows an infant hand held by an adult; the tall example repeats the mother-and-child portrait. Lilac textile and porcelain samples reinforce the same material family. These are board-level composition examples; their actual portrait communication geometry is not certified.
- **[07](boards/07-web.png)**: Two offer-neutral website branches each show wide and compact reflow. MILKIES uses mother/infant closeness; DIY by MILKIES uses hands folding a lilac textile beside an infant cardigan. All four final banner examples contain the literal campaign identity and the dimensional headline, with no CTA chips. Branch names are plain labels, not reconstructed corporate marks. Panel geometry illustrates reflow and does not constitute production 16:9/1:1 exports.
- **[08](boards/08-newsletter.png)**: A large campaign hero with emblem and dimensional headline is followed by a flat readable story module (“Ein Moment für uns.” / “Kleine Momente. Große Nähe.”), a simple Entdecken action and a close-up family photograph. Rounded light panels establish a modular newsletter hierarchy; the production adapter converts utility copy to live text.
- **[09](boards/09-print.png)**: Front/back print concept uses a light lilac field, flat campaign identity, a dimensional front headline, woven linen lower area, and a back with “Ein Moment für uns.” above a mother/infant photograph. The two separate cards are illustration of a print system, not imposed print files, proofed color or verified trim/bleed.
- **[10](boards/10-toolkit.png)**: Toolkit board groups the campaign emblem and wordmark, porcelain headline, linen and ceramic material samples, paired enclosing crescent arcs, and light/dark button surfaces. A family photograph bridges the toolkit into lived warmth. Reusable motifs can exist as flat arcs or shallow solid porcelain forms; they remain secondary to identity and copy.

Z planszy 01 przyjęto zestaw: światło dzienne, jasne liliowe pole, obłe przestrzenne litery, szeroki łuk otulenia oraz kontrast tkaniny i ceramiki. Plansza 05 wprowadza również serce konturowe; pozostaje drugorzędnym akcentem, nie zamiennikiem logo. Planszę 07 poprawiono natywnie, usuwając przyciski z przykładów bannerów i dodając nazwę kampanii do każdego z nich. Jej panele nadal są ilustracją kompozycji, nie gotowymi eksportami 16:9 / 1:1.

## 04. Logo i zasady użycia

**ID C04 · CORE · user_locked + observed · plansze 02, 07, 10 · `assets/logos/`, `exact-copy.json`.** Znak przedstawia matkę pochylającą się ku niemowlęciu. Fioletowa masa włosów i ciała tworzy jeden otaczający kontur; jasna lub przezroczysta przestrzeń zachowuje twarze, szyję oraz dziecko. Obie postacie mają po jednym znaku zamkniętej powieki. Zaokrąglony napis to integralna część lokalnego lockupu.

Dostępne ścieżki: `assets/logos/<klucz>/light.png`, `dark.png`, `full-3d.png`, `web-light.png`, `web-dark.png`. Klucze są małymi literami, np. `de-at`, `be-fr`. WEB to identyczne bajtowo kopie odpowiednich płaskich PNG. Nie jest to drugi, rekonstruowany krój logo. Każdy język zachowuje przypisany układ wierszy.

Light: fioletowy symbol, śliwkowy napis, jasne tło podkładane w kompozycji. Dark: lawendowy symbol i jasny napis na głębokiej śliwce. Full 3D: natywny relief, bez dodatkowej przezroczystej „planszy” wokół. Prawdziwa alfa jest sprawdzana w pliku; krawędzie należy oceniać na prawidłowym podkładzie alfa, nie w podglądzie ignorującym ją.

**ID W04 · WEB · implementation_decision · plansza 02 · `web/theme.css`.** Zachowaj proporcje PNG (`height:auto; object-fit:contain`). Wprowadź wolny obszar co najmniej 0,1 wysokości widocznego symbolu poza widocznym konturem lockupu. Proponowany start rozmiaru: 240 CSS px dla krótkich nazw, 320–360 CSS px dla dłuższych; sam symbol co najmniej 48 CSS px. To zalecenia do testu docelowego, nie zatwierdzone minimum czytelności. Nie zmniejszaj długich nazw do tego samego stopnia pisma kosztem czytelności.

Część natywnych wariantów full 3D (szczególnie PL i PT) ma mały zapas przy krawędzi pliku, choć znak nie jest obcięty. Przy osadzaniu dodaj zewnętrzny margines zgodny z regułą wolnego obszaru; nie opieraj kompozycji na samym marginesie PNG.

Zabronione: rozciąganie, odbijanie, usuwanie powiek, zaklejanie przestrzeni twarzy, zamiana pisowni, odtwarzanie znaku automatycznym tracingiem, dodawanie obrysu do płaskiej wersji, zmiana koloru każdej litery lub nieprzewidziany cień. Wersja 3D jest świadomą odmianą, nie filtrem nakładanym na master korporacyjny MILKIES.

## 05. Kolor i motywy jasny / ciemny

**ID C05 · CORE / WEB · implementation_decision · plansza 03 · `tokens.json`, `web/theme.css`.** Kierunek fioletowy wybrał właściciel. Poniższe dokładne wartości służą kodowi i spójności reprodukcji. Światło, faktura, gradient i antyaliasing natywnych obrazów tworzą inne pojedyncze piksele.

| Nazwa | HEX / sRGB | Rola |
|---|---|---|
| Violet | #8A5AA5 / 138,90,165 | Główna masa znaku i materiał kampanii |
| Plum | #4F2873 / 79,40,115 | Tekst light, główna akcja |
| Lilac | #F5EEFA / 245,238,250 | Jasne pole i tekst dark |
| Lavender | #C9A7E1 / 201,167,225 | Symbol / akcja dark, akcent |
| Night | #251330 / 37,19,48 | Ciemne pole |
| White | #FFFFFF / 255,255,255 | Karta light i tekst na głównej akcji |

W WEB powierzchnia główna dominuje nad akcentem. Gęste fioletowe pole wolno stosować w hero i darkmode, ale nie równocześnie we wszystkich kartach. Status błędu ma osobną rolę `destructive`; nie nazywa promocji ani nie zastępuje fioletu marki. Semantyczne pary background/foreground, card, popover, primary, secondary, muted, accent, destructive, border, input i ring są zdefiniowane dla obu motywów. Nie ma wykresów ani panelu bocznego, więc nie wymyślono ich tokenów.

Zmierzony kontrast CSS: light tekst/tło 9,818:1; light przycisk 11,149:1; dark tekst/tło 15,227:1; dark przycisk 8,315:1. Szczegóły dziesięciu par w `qa/contrast.json`. Nie oznacza to zgodności każdego tekstu wypalonego w obrazach. CMYK i Pantone nie zostały arbitralnie przypisane; konwersja wymaga procesu i profilu drukarni.

## 06. Typografia rzeczywista i artystyczna

**ID W06 · WEB · implementation_decision, plik fontu verified · plansza 03 · `assets/fonts/`, `qa/font-report.json`.** Do prawdziwego tekstu użyj dołączonego Nunito Sans Variable. Oficjalny font jest rozpowszechniany z SIL OFL 1.1; licencja pozostaje obok pliku. Zbadano cmap: wszystkie znaki z jedenastu nazw kampanii są dostępne. Wagi użytkowe 400 / 600 / 700 / 800. Fallback: `ui-sans-serif, system-ui, sans-serif`. Zachowaj polskie diakrytyki oraz apostrofy i wielkość liter z pliku exact-copy.

| Rola | Rozmiar | Interlinia | Waga |
|---|---|---|---|
| Display | clamp(2.5rem, 6vw, 5rem) | 1,05 | 800 |
| H1 | clamp(2rem, 4vw, 3.5rem) | 1,10 | 800 |
| H2 | clamp(1.5rem, 2.5vw, 2.5rem) | 1,15 | 700 |
| Body | 1rem | 1,60 | 400 |
| Caption | 0.875rem | 1,50 | 600 |

Dla nagłówków tracking −0,025em; treść bez ścieśniania, do 72ch. Liczby handlowe pojawiają się wyłącznie z potwierdzonego tuple. W obrazach napis „Nunito Sans” określa zamiar; nie dowodzi zgodności obrysów wygenerowanych liter z fontem. Logo i nagłówki CREATIVE są osobnymi obrazami.

**ID R06 · CREATIVE · observed · plansze 01, 03, 05 · `creative/prompt-recipes.md`.** Litery są obłe, ciężkie i mają wyraźny front, krótki bok oraz zaokrąglone przejście krawędzi. Unikaj kaligrafii, szeryfów i chromu. Gdy tworzysz nowy nagłówek, zachowaj styl materiału, a nie samą siatkę pikseli innego napisu.

## 07. Układ i responsywność

**ID W07 · WEB · implementation_decision · plansze 07–08 · `web/theme.css`, `web/specimen.html`.** Kontener maksymalnie 1180 px, boczny odstęp 20 px (14 px na małym ekranie), moduły z odstępem 24 px; prosty ciąg 4/8/12/16/24/32/48/64 px. Karty o promieniu 24 px, pola 8 px, pill 999 px. Na małym ekranie dwie kolumny przechodzą w jedną. Treść i nazwa kampanii zachowują pierwszeństwo przed dekoracją.

Próg 600 px w próbce jest decyzją tej próbki, nie breakpointem sklepu. Adapter bannerów musi odczytać rzeczywisty komponent sklepu. Długie teksty reflowują naturalnie; nie łam nazw złożonych nowym myślnikiem i nie rozciągaj rastra. Nie mierz odstępów interfejsu bezpośrednio ze skalowanej planszy.

## 08. WEB: komponenty, stany i semantyka

**ID W08 · WEB · implementation_decision · plansze 03, 05, 08 · `web/README.md`, `web/specimen.html`.** Wypukłe panele na planszy są artystycznym pokazem. Prawdziwy interfejs jest prostym HTML/CSS z realnym tekstem, formularzem i obsługą klawiatury. Nie udaje gotowej aplikacji shadcn.

| Komponent / odpowiednik | Anatomia i tokeny | Stany |
|---|---|---|
| Button | Etykieta + opcjonalna ikona, min. 44 px, primary/foreground | default, hover, focus-visible, disabled w próbce; active/loading w integracji |
| Card | Nagłówek, treść, opcjonalna akcja; card/foreground, border | powierzchnia statyczna; nie udaje przycisku |
| Badge | Krótka prawdziwa etykieta, secondary/foreground | status opisany tekstem, bez samych kolorów |
| Input / Label | Stała etykieta, opis i tekst błędu; input/ring | focus w próbce; walidacja i recovery po integracji |
| Dialog / Sheet | Tytuł, opis, zamknięcie, zarządzanie focusem | receptura integracyjna; brak dostarczonej implementacji |
| Select / theme | Natychmiastowy wybór lokalizacji / motywu | realny select, aria-pressed dla motywu |

Loading wymaga czytelnego statusu `aria-live`, nie fałszywego procentu. Empty opisuje brak danych, error podaje konkretne wyjście, success dotyczy faktycznie zakończonej czynności. Domyślne przyciski nie mają wymyślonego adresu sklepu. Czas delikatnej zmiany stanu proponowany w tokenach: 160 ms ease-out; reduced-motion wyłącza nieistotny ruch. Ikony funkcjonalne w przyszłej integracji: siatka 24 px, kreska 2 px; nie stosuj symbolu matki jako każdej ikony interfejsu.

## 09. APP i ikony

**ID W09 · WEB · implementation_decision · plansza 10 · `assets/app-icons/`, `assets/symbols/`.** Dostarczono natywne, kwadratowe master PNG w faktycznym rozmiarze 1254 × 1254 px. Nie mają wypalonych zaokrąglonych narożników; to system urządzenia nakłada maskę. Pomiar pomocniczy wskazuje, że główna sylwetka mieści się w centralnym kole o promieniu 0,4 szerokości. Nie wykonano instalacji na iOS/Android ani testu rzeczywistej maski platformy.

Nie dołączono rzekomych eksportów 16/32/48 ICO, 192/512 lub 1024 px. Te rozmiary nie były zamówionym elementem i nie uzyskano ich natywnie. Master może posłużyć do jawnego eksportu w przyszłej, autoryzowanej integracji. To nie jest zbudowana PWA. Ewentualna aplikacja dziedziczy kolory i typografię, stosuje realną nawigację, bezpieczne obszary urządzenia, min. 44 px cele, stany offline/loading/error i równoważną obsługę obu motywów.

## 10. Fotografia i prawda o produkcie

**ID R10 · CREATIVE · observed + implementation_decision · plansze 01, 04, 06–10 · `creative/prompt-recipes.md`.** Motywy: matka przytulająca dziecko, spojrzenie, pocałunek, dłoń dziecka chwytająca palec, składanie tkaniny. Światło dzienne jest miękkie i boczne; skóra ma fakturę, włosy swobodne pasma, tkaniny czytelny splot. Kompozycja jest bliska, ale nie zakrywa nazwy czy twarzy ozdobną typografią.

Praktyczny punkt startu nowego zdjęcia: naturalna perspektywa 50–85 mm, neutralne światło okienne, umiarkowana głębia ostrości, drobne niedoskonałości, bez nadmiernie pomarańczowej skóry. To przepis, nie odczyt danych EXIF z wygenerowanych obrazów. Osoby są ilustracją stworzoną przez AI, nie fotografią potwierdzonego klienta i nie źródłem jego rekomendacji.

Na planszach nie pokazano biżuterii ani fikcyjnego SKU. Przed dodaniem produktu downstream pobiera zweryfikowany pakiet z HUMAN PRODUCT MODEL `app855FycNpcG5VM5`: model, wariant, projekt, materiał, wymiary i grid referencji. Prawda o produkcie ma pierwszeństwo nad stylem. Nie wprowadzaj pierścionka, kolczyków czy zawieszki tylko dlatego, że scena wygląda na jubilerską. Alt tekst opisuje rzeczywisty obraz; dekoracja otrzymuje pusty alt.

## 11. Formy, wzory i materiał

**ID R11 · CREATIVE · observed · plansze 01, 05, 10 · `assets/patterns/embracing-arcs.png`, `assets/backgrounds/lilac-linen-open-arc.png`.** Podstawowy motyw to otwarty, szeroki łuk obejmujący spokojną przestrzeń. Para łuków różni się skalą i jasnością. Materiały: liliowy len i satynowa/glazurowana fioletowa ceramika. Nie przedstawiaj łuku jako rzeczywistego produktu sklepu.

Powtarzalny raster dekoracyjny ma duże odstępy i nieprzecięte motywy. Pomocniczy pomiar krawędzi wskazał różnice do 3/255 RGB; nie deklaruj idealnej bezszwowości. Do dużych teł oceniaj powtórzenie w docelowej skali. Osobne tło ma wolny lewy górny obszar i ciężar łuku w prawym dolnym; służy do kompozycji, bez wypalonego tekstu.

Motyw nie przechodzi przez oczy, twarze, akcenty językowe ani wnętrza liter. Cień jest miękki i zgodny z jednym światłem, nie wielokierunkową poświatą. Ogranicz połysk, aby litery nie traciły frontu. Materiał nadrzędny to fioletowa ceramika, nie metaliczny chrom, szkło czy złoto.

## 12. CREATIVE: hierarchia i gotowe receptury

**ID R12 · CREATIVE · observed + implementation_decision · plansze 01, 05–10 · `creative/prompt-recipes.md`.** Hierarchia: kontekst bliskości → czytelna nazwa/logo → jedno główne hasło → ewentualna akcja zgodna z kanałem. Fizyczne litery mają głębię, ale utility copy pozostaje płaskie. Łuk może przejść za literami i fotografią; nie zasłania krytycznych znaków.

CTA „Entdecken” jest artystycznym przykładem dla social/newslettera. Działający link wymaga prawdziwego miejsca docelowego. Na bannerach WWW osobny CTA chip jest pomijany, ponieważ interakcję dostarcza cały banner. Jedna lub dwie celowe grupy informacji wystarczą; bez widgetów statystyk, ocen lub zmyślonych progów.

Do każdej nowej generacji dołącz właściwą lokalną tożsamość i stabilny wzorzec świata. Nie buduj łańcucha coraz bardziej odległych przypadkowych wyjść. Przepis foto-only pomija logo, tekst reklamowy i UI. Przepis reklamowy dodaje wyłącznie zatwierdzone pola konkretnej oferty.

## 13. Zastosowania kanałowe

**ID C13 · CORE / WEB / CREATIVE · implementation_decision · plansze 06–09 · `channel-matrix.json`, `creative/channel-recipes/`.**

| Kanał | Dostarczone / zasada | Wymagane przed publikacją |
|---|---|---|
| Social 1:1 | Wizualny kierunek, logo, przepis | Aktualny placement i dokładny copy |
| Portrait 9:16 | Natywna generacja całego kadru; komunikacja w niewidocznym środkowym kwadracie z 6% marginesem | Pomiar rzeczywistej geometrii finalnego pliku |
| WWW MILKIES | Reflow desktop 16:9 / mobile 1:1; kampania bez osobnego CTA | Zweryfikowane progi, prezent, footer i URL |
| WWW DIY | Ta sama tożsamość, własna mechanika i zakres | Warunki zestawów i własny prezent, bez przejęcia progów MILKIES |
| Newsletter | Hero + prawdziwy tekst i przycisk w kodzie | Lista odbiorców, linki, testy klientów i osobna zgoda na wysłanie |
| Print | Koncept przód/tył i płaskie logo | Trim, spad, ICC, papier, proof i rzeczywisty QR |
| WEB | Lokalne CSS, font, semantyczny specimen | Integracja i testy rzeczywistej aplikacji |

A6 105 × 148 mm, 3 mm spadu i 5 mm marginesu są propozycją w adapterze, nie zamówioną specyfikacją drukarni. Nie wycinaj paneli z plansz jako reklam produkcyjnych. Native square brandbook i native portrait ad to różne artefakty.

Kontrakt zawiera 24 jawne rekordy: 2 gałęzie × 12 tuple market/locale. Kwoty, progi, mechanika, prezenty, daty, strefa czasu i URL są null lub pustą listą. Waluty są proponowanym routingiem rynkowym, wymagają weryfikacji storefrontu. Nie przeliczaj progów walutowo ani nie uruchamiaj promocji na podstawie samego zestawu wizualnego.

## 14. Dostępność i wydajność

**ID W14 · WEB · implementation_decision, częściowo verified · plansza 03 · `qa/contrast.json`, `qa/font-report.json`, `qa/browser-runtime.json`.** Dziesięć wymaganych par CSS przekracza zadane progi kontrastu. Nie polegaj na samym kolorze błędu/statusu. Elementy mają widoczny fokus, sensowne etykiety, min. 44 px pole działania, a system ograniczonego ruchu jest respektowany. Długie teksty pozostają prawdziwym tekstem.

Wydajność: font jest lokalny i ładowany z font-display:swap; dalsze obrazy galerii używają lazy loading. Logo PNG nie jest automatycznie zmniejszane plikowo: CSS zmienia rozmiar wyświetlania. Przy integracji można przygotować jawnie opisane formaty transportowe po uzgodnieniu metod eksportu. Nie deklaruj małego transferu z powodu małego CSS width.

Nie udało się uruchomić przeglądarki: brak binarki Chromium, pojedyncza instalacja Playwright otrzymała nieprawidłowe archiwum. Kontrole składni JS, linków i kontrastu nie zastępują testu wizualnego desktop/mobile, powiększenia 200%, klawiatury i pobierania plików. Pełna zgodność WCAG, mail client i platform app pozostają niezweryfikowane.

## 15. Wdrożenie i źródła techniczne

**ID W15 · WEB · implementation_decision · plansze 03, 05 · `web/theme.css`, `web/README.md`.** Wersja dostarczona jest zwykłym HTML/CSS/JS, bez frameworka i bez zewnętrznego CDN. Przykład:

```html
<link rel="stylesheet" href="web/theme.css">
<img src="assets/logos/de-at/web-light.png" alt="Weltstillwoche" style="width:min(100%,360px);height:auto">
<h1>Treść pozostaje prawdziwym tekstem</h1>
```

Dla darkmode ustaw `.dark` na elemencie głównym i wybierz `web-dark.png`. Nie odwracaj całego obrazu filtrem. W istniejącym shadcn/Tailwind mapuj pary semantyczne na już posiadane Button/Card/Badge/Input/Dialog; sprawdź wersje i API projektu. Nie podano wymyślonych slugów rejestru ani nie dołączono kodu premium. Przykładowe komponenty wymagają standardowego zachowania accessibility odpowiedniego dla faktycznej biblioteki.

Oficjalne źródła odczytane 2026-09-30:
- https://ui.shadcn.com/docs/theming
- https://ui.shadcn.com/docs/components/base/button
- https://ui.shadcn.com/docs/components/base/card
- https://github.com/google/fonts/tree/main/ofl/nunitosans

Przed wdrożeniem: otwórz próbkę, porównaj light/dark, zmień rynek na najdłuższą nazwę, sprawdź brak obcięcia tekstu i działanie fokusu; po podpięciu realnych danych przetestuj wszystkie akcje. Brak tych testów nie powinien być maskowany działającą galerią obrazów.

## 16. Kontrola, ograniczenia i zarządzanie edycją

**ID C16 · CORE · implementation_decision + verified/unverified według raportów · plansze 01–10 · `manifest.json`, `qa/report.json`.** Obrazy z generacji zachowano bez postkompozycji i bez podmiany tekstu w kodzie. Raporty lettering wiążą każde odczytane wystąpienie z hashem końcowego pliku. Raport alfa analizuje rzeczywisty kanał PNG; dodatkowe oględziny właściwych kompozytów sprawdzają użyteczność krawędzi. Wszystkie obrazy w wydaniu muszą przejść pełne dekodowanie, nie tylko odczyt nagłówka.

Niezmienne: słownictwo lokalne, wybrana rodzina znaku, zatwierdzone źródła, rozdzielenie oferty między marki. Elastyczne: scena, reflow, intensywność materiału, skala motywu i ilość dekoracji. Nowa tożsamość wymaga nowej edycji; poprawka pojedynczej planszy zmienia tylko jej plik i powiązane raporty. Nie mieszaj plików z odrzuconych wersji.

Statusy należy czytać osobno: czytelność napisów, rzeczywista alfa, integralność plików i ich dostępność mogą być potwierdzone; identyczność wektorowa/pikselowa z oryginałem, dokładne fonty w obrazach, gotowość druku, geometria samodzielnych reklam i działanie docelowych aplikacji nie wynikają z tych kontroli.

Pełny preset audytora brandkit oczekuje dodatkowych małych faviconów i ścisłych rozmiarów aplikacji. Ponieważ nie były zamówione, a ta realizacja zachowuje natywne obrazy bez kodowego resamplingu, zachowano jego rzeczywisty wynik oraz osobny audyt zakresu użytkownika. Nie deklaruje się zaliczenia niezgodnego presetu. Atomowe archiwum ma osobny rozmiar, SHA-256 i weryfikację wszystkich elementów; weryfikacja zapisanej kopii następuje odrębnie.

Materiały są przekazaniem identyfikacji, nie zgodą na publikację reklam, zmianę cen, zapis do Airtable, wysyłkę newslettera lub wdrożenie sklepu. Oryginalne źródła i zapis aktualnej edycji umożliwiają powrót do zatwierdzonej postaci.

README.md

README.md

MD · 1,597 B

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# MILKIES · Weltstillwoche

Po rozpakowaniu całego ZIP otwórz **index.html**. To jeden katalog do oglądania i pobierania wszystkich materiałów.

## Co zawiera zestaw

- 10 osobnych plansz brandkitu, zachowanych w oryginalnych plikach natywnych.
- 11 wersji językowych logo: DE/AT, PL, NL, PT, EU, IT, BE-NL, BE-FR, UK, ES, FR.
- Dla każdej wersji: light, dark oraz full 3D jako przezroczyste PNG.
- WEB light i WEB dark jako kopie identyczne bajtowo z odpowiednimi płaskimi logo. Rozmiar wyświetlania kontroluje CSS.
- Symbole jasny/ciemny, natywne ikony, dekoracyjny motyw i osobne tło.
- Lokalne fonty Nunito Sans z licencją, tokeny JSON/CSS oraz próbka WEB bez zależności od serwera.
- Reguły identyfikacji, dokładne nazwy rynkowe, adaptery dla reklam, bannerów MILKIES i DIY, newslettera oraz druku.
- Oryginały zatwierdzonych logo, prompty, manifest plików i jawny zakres kontroli jakości.

## Jak dobrać plik

Dla jasnego tła wybierz `light.png`; dla ciemnego `dark.png`; do kompozycji przestrzennych `full-3d.png`. Pliki są w `assets/logos/<rynek>/`. Nie rozciągaj logo i nie zmieniaj proporcji. Różne długości nazw zachowują przypisany układ wierszy.

Zestaw ustala identyfikację. **Daty, rabaty, prezenty i docelowe adresy URL nie zostały ustalone.** Kontrakt pozostawia je puste. Plansze nie są gotowymi do publikacji reklamami ani plikami do drukarni.

Ikony mają oryginalny rozmiar zwrócony przez generator. Nie udają dodatkowych eksportów ICO ani zestawu rozmiarów aplikacji. Pełne ograniczenia znajdują się w `DESIGN.md` i `qa/report.json`.

VISUAL_LOCK.md

VISUAL_LOCK.md

MD · 1,556 B

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# Weltstillwoche — visual lock

Approved identity: supplied maternal enclosing violet silhouette, two light negative-space face profiles, closed-eye crescents, rounded wordmark; preserve the supplied locale masters. Board 01 establishes this edition's creative world: satin violet porcelain with visible substantial sidewalls and rounded bevels; pale lavender paper and lilac linen; broad open embracing arcs; generous editorial spacing; natural neutral daylight skin, intimate candid parent–infant photography. Headline proposal: “Nähe, die bleibt.” This emotional copy is not a product or health claim.

Implementation color targets: violet #8A5AA5, plum #4F2873, pale lavender #F5EEFA, lilac #C9A7E1, deepest plum #251330. Native raster illumination and material appearances vary; these are not measured exact image swatches. Flat WEB typography uses actual Nunito Sans files. Native campaign lettering is a creative interpretation, not certified font reproduction.

Offer, discount, price, period, gifts and destinations are unknown. Channel examples are offer-neutral design directions and do not authorize publication. No fabricated product construction or testimonial. Preserve parent-brand originals independently when available; campaign mark may become dimensional, parent MILKIES mark may not.

Anchor: boards/01-campaign-world.png, native ImageGen. All following boards use this edition's lock and supplied source identity. Board mockups are design references; separate exported production assets are identified in the file inventory.

lilac-linen-open-arc.png

assets/backgrounds/lilac-linen-open-arc.png

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assets/backgrounds/lilac-linen-open-arc.png

METADATA.pb

assets/fonts/METADATA.pb

PB · 1,758 B

Podgląd tego formatu niedostępny. Pobierz oryginał.

NunitoSans-Variable.ttf

assets/fonts/NunitoSans-Variable.ttf

TTF · 571,240 B

Aa Bb 0123456789
Zażółć gęślą jaźń

OFL.txt

assets/fonts/OFL.txt

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Copyright 2016 The Nunito Sans Project Authors (https://github.com/Fonthausen/NunitoSans)

This Font Software is licensed under the SIL Open Font License, Version 1.1.
This license is copied below, and is also available with a FAQ at:
http://scripts.sil.org/OFL


-----------------------------------------------------------
SIL OPEN FONT LICENSE Version 1.1 - 26 February 2007
-----------------------------------------------------------

PREAMBLE
The goals of the Open Font License (OFL) are to stimulate worldwide
development of collaborative font projects, to support the font creation
efforts of academic and linguistic communities, and to provide a free and
open framework in which fonts may be shared and improved in partnership
with others.

The OFL allows the licensed fonts to be used, studied, modified and
redistributed freely as long as they are not sold by themselves. The
fonts, including any derivative works, can be bundled, embedded, 
redistributed and/or sold with any software provided that any reserved
names are not used by derivative works. The fonts and derivatives,
however, cannot be released under any other type of license. The
requirement for fonts to remain under this license does not apply
to any document created using the fonts or their derivatives.

DEFINITIONS
"Font Software" refers to the set of files released by the Copyright
Holder(s) under this license and clearly marked as such. This may
include source files, build scripts and documentation.

"Reserved Font Name" refers to any names specified as such after the
copyright statement(s).

"Original Version" refers to the collection of Font Software components as
distributed by the Copyright Holder(s).

"Modified Version" refers to any derivative made by adding to, deleting,
or substituting -- in part or in whole -- any of the components of the
Original Version, by changing formats or by porting the Font Software to a
new environment.

"Author" refers to any designer, engineer, programmer, technical
writer or other person who contributed to the Font Software.

PERMISSION & CONDITIONS
Permission is hereby granted, free of charge, to any person obtaining
a copy of the Font Software, to use, study, copy, merge, embed, modify,
redistribute, and sell modified and unmodified copies of the Font
Software, subject to the following conditions:

1) Neither the Font Software nor any of its individual components,
in Original or Modified Versions, may be sold by itself.

2) Original or Modified Versions of the Font Software may be bundled,
redistributed and/or sold with any software, provided that each copy
contains the above copyright notice and this license. These can be
included either as stand-alone text files, human-readable headers or
in the appropriate machine-readable metadata fields within text or
binary files as long as those fields can be easily viewed by the user.

3) No Modified Version of the Font Software may use the Reserved Font
Name(s) unless explicit written permission is granted by the corresponding
Copyright Holder. This restriction only applies to the primary font name as
presented to the users.

4) The name(s) of the Copyright Holder(s) or the Author(s) of the Font
Software shall not be used to promote, endorse or advertise any
Modified Version, except to acknowledge the contribution(s) of the
Copyright Holder(s) and the Author(s) or with their explicit written
permission.

5) The Font Software, modified or unmodified, in part or in whole,
must be distributed entirely under this license, and must not be
distributed under any other license. The requirement for fonts to
remain under this license does not apply to any document created
using the Font Software.

TERMINATION
This license becomes null and void if any of the above conditions are
not met.

DISCLAIMER
THE FONT SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND,
EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO ANY WARRANTIES OF
MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT
OF COPYRIGHT, PATENT, TRADEMARK, OR OTHER RIGHT. IN NO EVENT SHALL THE
COPYRIGHT HOLDER BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY,
INCLUDING ANY GENERAL, SPECIAL, INDIRECT, INCIDENTAL, OR CONSEQUENTIAL
DAMAGES, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING
FROM, OUT OF THE USE OR INABILITY TO USE THE FONT SOFTWARE OR FROM
OTHER DEALINGS IN THE FONT SOFTWARE.

full-3d.png

assets/logos/be-fr/full-3d.png

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web-dark.png

assets/logos/be-fr/web-dark.png

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web-light.png

assets/logos/be-fr/web-light.png

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assets/logos/be-fr/web-light.png

full-3d.png

assets/logos/be-nl/full-3d.png

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assets/logos/be-nl/full-3d.png

web-dark.png

assets/logos/be-nl/web-dark.png

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web-light.png

assets/logos/be-nl/web-light.png

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assets/logos/be-nl/web-light.png

full-3d.png

assets/logos/de-at/full-3d.png

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assets/logos/de-at/full-3d.png

web-dark.png

assets/logos/de-at/web-dark.png

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web-light.png

assets/logos/de-at/web-light.png

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assets/logos/de-at/web-light.png

web-dark.png

assets/logos/es/web-dark.png

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assets/logos/es/web-dark.png

web-light.png

assets/logos/es/web-light.png

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assets/logos/es/web-light.png

web-dark.png

assets/logos/eu/web-dark.png

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assets/logos/eu/web-dark.png

web-light.png

assets/logos/eu/web-light.png

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assets/logos/eu/web-light.png

web-dark.png

assets/logos/fr/web-dark.png

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web-light.png

assets/logos/fr/web-light.png

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assets/logos/fr/web-light.png

web-dark.png

assets/logos/it/web-dark.png

PNG · 526,934 B

assets/logos/it/web-dark.png

web-light.png

assets/logos/it/web-light.png

PNG · 455,624 B

assets/logos/it/web-light.png

web-dark.png

assets/logos/nl/web-dark.png

PNG · 523,334 B

assets/logos/nl/web-dark.png

web-light.png

assets/logos/nl/web-light.png

PNG · 425,701 B

assets/logos/nl/web-light.png

full-3d.png

assets/logos/pl/full-3d.png

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assets/logos/pl/full-3d.png

web-dark.png

assets/logos/pl/web-dark.png

PNG · 568,593 B

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web-light.png

assets/logos/pl/web-light.png

PNG · 554,013 B

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web-dark.png

assets/logos/pt/web-dark.png

PNG · 477,430 B

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web-light.png

assets/logos/pt/web-light.png

PNG · 437,671 B

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web-dark.png

assets/logos/uk/web-dark.png

PNG · 494,737 B

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web-light.png

assets/logos/uk/web-light.png

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assets/logos/uk/web-light.png

embracing-arcs.png

assets/patterns/embracing-arcs.png

PNG · 976,415 B

assets/patterns/embracing-arcs.png

01-campaign-world.png

boards/01-campaign-world.png

PNG · 2,122,698 B

boards/01-campaign-world.png

02-logo-system.png

boards/02-logo-system.png

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boards/02-logo-system.png

03-palette-type.png

boards/03-palette-type.png

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boards/03-palette-type.png

04-photography.png

boards/04-photography.png

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boards/04-photography.png

05-type-ui-motifs.png

boards/05-type-ui-motifs.png

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boards/05-type-ui-motifs.png

08-newsletter.png

boards/08-newsletter.png

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boards/08-newsletter.png

campaign-contract.json

campaign-contract.json

JSON · 23,322 B

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{
  "schema_version": 1,
  "campaign_id": "milkies-weltstillwoche",
  "edition": "v1",
  "status": "identity_candidate",
  "visual_lock_path": "VISUAL_LOCK.md",
  "board_contract": {
    "count": 10,
    "ratio": "1:1",
    "method": "native_imagegen_complete_board",
    "externally_composited": false
  },
  "portrait_contract": {
    "method": "native_one_shot",
    "ratio": "9:16",
    "communication_region": "centred_full_width_square",
    "inner_padding_width_fraction": 0.06,
    "automatic_triage": false,
    "outpaint": false,
    "geometry_status": "unverified"
  },
  "website_contract": {
    "desktop_ratio": "16:9",
    "mobile_ratio": "1:1",
    "campaign_wordmark": true,
    "corporate_logo": false,
    "cta_chip": false,
    "social_proof": false,
    "scarcity": false,
    "rule_source": "MILKIES Sale Brandkit consumer contract; current campaign is offer-neutral. Verify receiving component before production."
  },
  "product_source": {
    "base_id": "app855FycNpcG5VM5",
    "reference_assembly": "external",
    "product_truth_overrides_campaign_style": true,
    "signed_urls_are_durable": false
  },
  "offers": [
    {
      "brand": "milkies",
      "market": "DE",
      "locale": "de-DE",
      "currency": "EUR",
      "status": "unknown",
      "mechanic": null,
      "tiers": [],
      "flat_discount_percent": null,
      "scope": null,
      "gift": {
        "eligible": null,
        "product_record_id": null,
        "quantity": null,
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        "material_rule": null,
        "exclusions": []
      },
      "application_location": null,
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      "start_at": null,
      "end_at": null,
      "timezone": null,
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      "source_locator": null,
      "source_date": null,
      "exact_strings": {},
      "destination_url": null,
      "identity_key": "DE-AT",
      "currency_authority": "proposed market default; must be verified for selected storefront before price production"
    },
    {
      "brand": "milkies",
      "market": "AT",
      "locale": "de-AT",
      "currency": "EUR",
      "status": "unknown",
      "mechanic": null,
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      },
      "application_location": null,
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      "source_date": null,
      "exact_strings": {},
      "destination_url": null,
      "identity_key": "DE-AT",
      "currency_authority": "proposed market default; must be verified for selected storefront before price production"
    },
    {
      "brand": "milkies",
      "market": "PL",
      "locale": "pl-PL",
      "currency": "PLN",
      "status": "unknown",
      "mechanic": null,
      "tiers": [],
      "flat_discount_percent": null,
      "scope": null,
      "gift": {
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        "exclusions": []
      },
      "application_location": null,
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      "start_at": null,
      "end_at": null,
      "timezone": null,
      "urgency_claim": null,
      "approved_by": null,
      "source_locator": null,
      "source_date": null,
      "exact_strings": {},
      "destination_url": null,
      "identity_key": "PL",
      "currency_authority": "proposed market default; must be verified for selected storefront before price production"
    },
    {
      "brand": "milkies",
      "market": "NL",
      "locale": "nl-NL",
      "currency": "EUR",
      "status": "unknown",
      "mechanic": null,
      "tiers": [],
      "flat_discount_percent": null,
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        "material_rule": null,
        "exclusions": []
      },
      "application_location": null,
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      "start_at": null,
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      "source_locator": null,
      "source_date": null,
      "exact_strings": {},
      "destination_url": null,
      "identity_key": "NL",
      "currency_authority": "proposed market default; must be verified for selected storefront before price production"
    },
    {
      "brand": "milkies",
      "market": "PT",
      "locale": "pt-PT",
      "currency": "EUR",
      "status": "unknown",
      "mechanic": null,
      "tiers": [],
      "flat_discount_percent": null,
      "scope": null,
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      },
      "application_location": null,
      "automatically_applied": null,
      "start_at": null,
      "end_at": null,
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      "source_locator": null,
      "source_date": null,
      "exact_strings": {},
      "destination_url": null,
      "identity_key": "PT",
      "currency_authority": "proposed market default; must be verified for selected storefront before price production"
    },
    {
      "brand": "milkies",
      "market": "EU",
      "locale": "en-GB",
      "currency": "EUR",
      "status": "unknown",
      "mechanic": null,
      "tiers": [],
      "flat_discount_percent": null,
      "scope": null,
      "gift": {
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        "material_rule": null,
        "exclusions": []
      },
      "application_location": null,
      "automatically_applied": null,
      "start_at": null,
      "end_at": null,
      "timezone": null,
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      "source_locator": null,
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      "exact_strings": {},
      "destination_url": null,
      "identity_key": "EU",
      "currency_authority": "proposed market default; must be verified for selected storefront before price production"
    },
    {
      "brand": "milkies",
      "market": "IT",
      "locale": "it-IT",
      "currency": "EUR",
      "status": "unknown",
      "mechanic": null,
      "tiers": [],
      "flat_discount_percent": null,
      "scope": null,
      "gift": {
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        "material_rule": null,
        "exclusions": []
      },
      "application_location": null,
      "automatically_applied": null,
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      "urgency_claim": null,
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      "source_locator": null,
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      "exact_strings": {},
      "destination_url": null,
      "identity_key": "IT",
      "currency_authority": "proposed market default; must be verified for selected storefront before price production"
    },
    {
      "brand": "milkies",
      "market": "BE",
      "locale": "nl-BE",
      "currency": "EUR",
      "status": "unknown",
      "mechanic": null,
      "tiers": [],
      "flat_discount_percent": null,
      "scope": null,
      "gift": {
        "eligible": null,
        "product_record_id": null,
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        "material_rule": null,
        "exclusions": []
      },
      "application_location": null,
      "automatically_applied": null,
      "start_at": null,
      "end_at": null,
      "timezone": null,
      "urgency_claim": null,
      "approved_by": null,
      "source_locator": null,
      "source_date": null,
      "exact_strings": {},
      "destination_url": null,
      "identity_key": "BE-NL",
      "currency_authority": "proposed market default; must be verified for selected storefront before price production"
    },
    {
      "brand": "milkies",
      "market": "BE",
      "locale": "fr-BE",
      "currency": "EUR",
      "status": "unknown",
      "mechanic": null,
      "tiers": [],
      "flat_discount_percent": null,
      "scope": null,
      "gift": {
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        "product_record_id": null,
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        "material_rule": null,
        "exclusions": []
      },
      "application_location": null,
      "automatically_applied": null,
      "start_at": null,
      "end_at": null,
      "timezone": null,
      "urgency_claim": null,
      "approved_by": null,
      "source_locator": null,
      "source_date": null,
      "exact_strings": {},
      "destination_url": null,
      "identity_key": "BE-FR",
      "currency_authority": "proposed market default; must be verified for selected storefront before price production"
    },
    {
      "brand": "milkies",
      "market": "UK",
      "locale": "en-GB",
      "currency": "GBP",
      "status": "unknown",
      "mechanic": null,
      "tiers": [],
      "flat_discount_percent": null,
      "scope": null,
      "gift": {
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        "product_record_id": null,
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        "material_rule": null,
        "exclusions": []
      },
      "application_location": null,
      "automatically_applied": null,
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      "end_at": null,
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      "approved_by": null,
      "source_locator": null,
      "source_date": null,
      "exact_strings": {},
      "destination_url": null,
      "identity_key": "UK",
      "currency_authority": "proposed market default; must be verified for selected storefront before price production"
    },
    {
      "brand": "milkies",
      "market": "ES",
      "locale": "es-ES",
      "currency": "EUR",
      "status": "unknown",
      "mechanic": null,
      "tiers": [],
      "flat_discount_percent": null,
      "scope": null,
      "gift": {
        "eligible": null,
        "product_record_id": null,
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        "material_rule": null,
        "exclusions": []
      },
      "application_location": null,
      "automatically_applied": null,
      "start_at": null,
      "end_at": null,
      "timezone": null,
      "urgency_claim": null,
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      "source_locator": null,
      "source_date": null,
      "exact_strings": {},
      "destination_url": null,
      "identity_key": "ES",
      "currency_authority": "proposed market default; must be verified for selected storefront before price production"
    },
    {
      "brand": "milkies",
      "market": "FR",
      "locale": "fr-FR",
      "currency": "EUR",
      "status": "unknown",
      "mechanic": null,
      "tiers": [],
      "flat_discount_percent": null,
      "scope": null,
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        "eligible": null,
        "product_record_id": null,
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        "material_rule": null,
        "exclusions": []
      },
      "application_location": null,
      "automatically_applied": null,
      "start_at": null,
      "end_at": null,
      "timezone": null,
      "urgency_claim": null,
      "approved_by": null,
      "source_locator": null,
      "source_date": null,
      "exact_strings": {},
      "destination_url": null,
      "identity_key": "FR",
      "currency_authority": "proposed market default; must be verified for selected storefront before price production"
    },
    {
      "brand": "diy-by-milkies",
      "market": "DE",
      "locale": "de-DE",
      "currency": "EUR",
      "status": "unknown",
      "mechanic": null,
      "tiers": [],
      "flat_discount_percent": null,
      "scope": null,
      "gift": {
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        "material_rule": null,
        "exclusions": []
      },
      "application_location": null,
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      "approved_by": null,
      "source_locator": null,
      "source_date": null,
      "exact_strings": {},
      "destination_url": null,
      "identity_key": "DE-AT",
      "currency_authority": "proposed market default; must be verified for selected storefront before price production"
    },
    {
      "brand": "diy-by-milkies",
      "market": "AT",
      "locale": "de-AT",
      "currency": "EUR",
      "status": "unknown",
      "mechanic": null,
      "tiers": [],
      "flat_discount_percent": null,
      "scope": null,
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      },
      "application_location": null,
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      "exact_strings": {},
      "destination_url": null,
      "identity_key": "DE-AT",
      "currency_authority": "proposed market default; must be verified for selected storefront before price production"
    },
    {
      "brand": "diy-by-milkies",
      "market": "PL",
      "locale": "pl-PL",
      "currency": "PLN",
      "status": "unknown",
      "mechanic": null,
      "tiers": [],
      "flat_discount_percent": null,
      "scope": null,
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      },
      "application_location": null,
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      "source_locator": null,
      "source_date": null,
      "exact_strings": {},
      "destination_url": null,
      "identity_key": "PL",
      "currency_authority": "proposed market default; must be verified for selected storefront before price production"
    },
    {
      "brand": "diy-by-milkies",
      "market": "NL",
      "locale": "nl-NL",
      "currency": "EUR",
      "status": "unknown",
      "mechanic": null,
      "tiers": [],
      "flat_discount_percent": null,
      "scope": null,
      "gift": {
        "eligible": null,
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        "material_rule": null,
        "exclusions": []
      },
      "application_location": null,
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      "source_locator": null,
      "source_date": null,
      "exact_strings": {},
      "destination_url": null,
      "identity_key": "NL",
      "currency_authority": "proposed market default; must be verified for selected storefront before price production"
    },
    {
      "brand": "diy-by-milkies",
      "market": "PT",
      "locale": "pt-PT",
      "currency": "EUR",
      "status": "unknown",
      "mechanic": null,
      "tiers": [],
      "flat_discount_percent": null,
      "scope": null,
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        "exclusions": []
      },
      "application_location": null,
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      "source_locator": null,
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      "exact_strings": {},
      "destination_url": null,
      "identity_key": "PT",
      "currency_authority": "proposed market default; must be verified for selected storefront before price production"
    },
    {
      "brand": "diy-by-milkies",
      "market": "EU",
      "locale": "en-GB",
      "currency": "EUR",
      "status": "unknown",
      "mechanic": null,
      "tiers": [],
      "flat_discount_percent": null,
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        "material_rule": null,
        "exclusions": []
      },
      "application_location": null,
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      "start_at": null,
      "end_at": null,
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      "urgency_claim": null,
      "approved_by": null,
      "source_locator": null,
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      "exact_strings": {},
      "destination_url": null,
      "identity_key": "EU",
      "currency_authority": "proposed market default; must be verified for selected storefront before price production"
    },
    {
      "brand": "diy-by-milkies",
      "market": "IT",
      "locale": "it-IT",
      "currency": "EUR",
      "status": "unknown",
      "mechanic": null,
      "tiers": [],
      "flat_discount_percent": null,
      "scope": null,
      "gift": {
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        "exclusions": []
      },
      "application_location": null,
      "automatically_applied": null,
      "start_at": null,
      "end_at": null,
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      "urgency_claim": null,
      "approved_by": null,
      "source_locator": null,
      "source_date": null,
      "exact_strings": {},
      "destination_url": null,
      "identity_key": "IT",
      "currency_authority": "proposed market default; must be verified for selected storefront before price production"
    },
    {
      "brand": "diy-by-milkies",
      "market": "BE",
      "locale": "nl-BE",
      "currency": "EUR",
      "status": "unknown",
      "mechanic": null,
      "tiers": [],
      "flat_discount_percent": null,
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      },
      "application_location": null,
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      "exact_strings": {},
      "destination_url": null,
      "identity_key": "BE-NL",
      "currency_authority": "proposed market default; must be verified for selected storefront before price production"
    },
    {
      "brand": "diy-by-milkies",
      "market": "BE",
      "locale": "fr-BE",
      "currency": "EUR",
      "status": "unknown",
      "mechanic": null,
      "tiers": [],
      "flat_discount_percent": null,
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        "exclusions": []
      },
      "application_location": null,
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      "source_locator": null,
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      "exact_strings": {},
      "destination_url": null,
      "identity_key": "BE-FR",
      "currency_authority": "proposed market default; must be verified for selected storefront before price production"
    },
    {
      "brand": "diy-by-milkies",
      "market": "UK",
      "locale": "en-GB",
      "currency": "GBP",
      "status": "unknown",
      "mechanic": null,
      "tiers": [],
      "flat_discount_percent": null,
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      "gift": {
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        "material_rule": null,
        "exclusions": []
      },
      "application_location": null,
      "automatically_applied": null,
      "start_at": null,
      "end_at": null,
      "timezone": null,
      "urgency_claim": null,
      "approved_by": null,
      "source_locator": null,
      "source_date": null,
      "exact_strings": {},
      "destination_url": null,
      "identity_key": "UK",
      "currency_authority": "proposed market default; must be verified for selected storefront before price production"
    },
    {
      "brand": "diy-by-milkies",
      "market": "ES",
      "locale": "es-ES",
      "currency": "EUR",
      "status": "unknown",
      "mechanic": null,
      "tiers": [],
      "flat_discount_percent": null,
      "scope": null,
      "gift": {
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        "product_record_id": null,
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        "material_rule": null,
        "exclusions": []
      },
      "application_location": null,
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      "start_at": null,
      "end_at": null,
      "timezone": null,
      "urgency_claim": null,
      "approved_by": null,
      "source_locator": null,
      "source_date": null,
      "exact_strings": {},
      "destination_url": null,
      "identity_key": "ES",
      "currency_authority": "proposed market default; must be verified for selected storefront before price production"
    },
    {
      "brand": "diy-by-milkies",
      "market": "FR",
      "locale": "fr-FR",
      "currency": "EUR",
      "status": "unknown",
      "mechanic": null,
      "tiers": [],
      "flat_discount_percent": null,
      "scope": null,
      "gift": {
        "eligible": null,
        "product_record_id": null,
        "quantity": null,
        "threshold": null,
        "material_rule": null,
        "exclusions": []
      },
      "application_location": null,
      "automatically_applied": null,
      "start_at": null,
      "end_at": null,
      "timezone": null,
      "urgency_claim": null,
      "approved_by": null,
      "source_locator": null,
      "source_date": null,
      "exact_strings": {},
      "destination_url": null,
      "identity_key": "FR",
      "currency_authority": "proposed market default; must be verified for selected storefront before price production"
    }
  ],
  "claim_policy": {
    "unknown_offer_example": "offer_neutral",
    "generated_art_is_factual_evidence": false
  },
  "scope": {
    "brands": [
      "milkies",
      "diy-by-milkies"
    ],
    "identity_status": "user_locked",
    "commercial_status": "unknown",
    "parent_mark": "Original parent mark not supplied in current release; no reconstructed corporate logo is included."
  },
  "exact_copy_path": "exact-copy.json",
  "release_use": "Identity assets and offer-neutral layout examples. Not authorization to launch a discount or claim dates."
}

channel-matrix.json

channel-matrix.json

JSON · 3,339 B

Pokaż treść
[
  {
    "id": "social-portrait",
    "surface": "Paid/social portrait",
    "ratio": "9:16",
    "identity": "Selected locale light/dark/3D",
    "communication": "All text, logos, UI and their depth inside invisible centred full-width square; 0.06W inner padding. Unlettered scene may continue outside.",
    "downstream_inputs": [
      "placement dimensions",
      "brand/market/locale/currency",
      "approved exact copy",
      "product packet when featuring SKU",
      "destination when actionable"
    ],
    "status": "recipe; no independent placement export"
  },
  {
    "id": "social-feed",
    "surface": "Square feed",
    "ratio": "1:1",
    "identity": "Selected locale light/dark/3D",
    "communication": "One dominant message, full readable wordmark, substantial quiet margin; adapt layout instead of cropping a board.",
    "downstream_inputs": [
      "placement dimensions",
      "approved exact copy",
      "product packet if applicable"
    ],
    "status": "recipe"
  },
  {
    "id": "milkies-banner",
    "surface": "MILKIES website",
    "ratio": "16:9 desktop + 1:1 mobile",
    "identity": "Campaign wordmark; no corporate logo or CTA chip on banner",
    "communication": "Campaign, verified tier mechanic, verified gift, verified application footer. Offer-neutral until terms exist.",
    "downstream_inputs": [
      "current tiers",
      "eligibility",
      "gift packet",
      "receiving component breakpoint",
      "destination"
    ],
    "status": "recipe; offer unknown"
  },
  {
    "id": "diy-banner",
    "surface": "DIY by MILKIES website",
    "ratio": "16:9 desktop + 1:1 mobile",
    "identity": "Same campaign family; own commercial tuple",
    "communication": "Campaign, own flat offer and scope, own gift and footer. Never inherit MILKIES tiers.",
    "downstream_inputs": [
      "DIY terms",
      "set scope",
      "gift packet",
      "receiving component breakpoint",
      "destination"
    ],
    "status": "recipe; offer unknown"
  },
  {
    "id": "newsletter",
    "surface": "Newsletter",
    "ratio": "Responsive live body + hero",
    "identity": "Native hero + selected flat logo",
    "communication": "Headings and copy remain live text. Real destination only. No entire email as an image.",
    "downstream_inputs": [
      "approved story/offer",
      "audience",
      "actual URLs",
      "email client test matrix"
    ],
    "status": "recipe; not a sent email"
  },
  {
    "id": "print",
    "surface": "Leaflet/insert",
    "ratio": "Printer-specified",
    "identity": "Light flat logo; restrained violet material",
    "communication": "Proposed A6 105×148 mm, 3 mm bleed and 5 mm safe margin are provisional. Verify print process and profile.",
    "downstream_inputs": [
      "trim",
      "bleed",
      "ICC profile",
      "paper",
      "approved copy",
      "real QR destination"
    ],
    "status": "concept; not print-ready PDF"
  },
  {
    "id": "web",
    "surface": "Web/app implementation",
    "ratio": "Responsive",
    "identity": "Byte-identical flat PNG WEB aliases",
    "communication": "Live text and local Nunito Sans; functional controls use semantic HTML.",
    "downstream_inputs": [
      "application integration",
      "actual routing",
      "content source"
    ],
    "status": "offline specimen included"
  }
]

README.md

creative/channel-recipes/README.md

MD · 506 B

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# Channel adapters

These files are inputs for existing channel workflows. They do not replace product-reference assembly, storefront integration, campaign scheduling or publishing authorization. Complete only the actual requested placement. Never use a foundation-board panel as if it were an independent production export.

Required for any commercial output: exact brand, market, locale, currency and current verified terms. Until then, use only the campaign name and offer-neutral visual storytelling.

diy-banner.md

creative/channel-recipes/diy-banner.md

MD · 622 B

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# DIY by MILKIES website

Format: 16:9 desktop + 1:1 mobile

Identity: Same campaign family; own commercial tuple

Campaign, own flat offer and scope, own gift and footer. Never inherit MILKIES tiers.

Required inputs: DIY terms, set scope, gift packet, receiving component breakpoint, destination.

Delivery status: recipe; offer unknown.

Use `VISUAL_LOCK.md`, selected source and final logo, `exact-copy.json`, `tokens.json` and scoped `campaign-contract.json`. Preserve parent/product authority. Native imagery may be expressive; factual copy stays literal. Proofread every visible occurrence before customer release.

milkies-banner.md

creative/channel-recipes/milkies-banner.md

MD · 662 B

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# MILKIES website

Format: 16:9 desktop + 1:1 mobile

Identity: Campaign wordmark; no corporate logo or CTA chip on banner

Campaign, verified tier mechanic, verified gift, verified application footer. Offer-neutral until terms exist.

Required inputs: current tiers, eligibility, gift packet, receiving component breakpoint, destination.

Delivery status: recipe; offer unknown.

Use `VISUAL_LOCK.md`, selected source and final logo, `exact-copy.json`, `tokens.json` and scoped `campaign-contract.json`. Preserve parent/product authority. Native imagery may be expressive; factual copy stays literal. Proofread every visible occurrence before customer release.

newsletter.md

creative/channel-recipes/newsletter.md

MD · 598 B

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# Newsletter

Format: Responsive live body + hero

Identity: Native hero + selected flat logo

Headings and copy remain live text. Real destination only. No entire email as an image.

Required inputs: approved story/offer, audience, actual URLs, email client test matrix.

Delivery status: recipe; not a sent email.

Use `VISUAL_LOCK.md`, selected source and final logo, `exact-copy.json`, `tokens.json` and scoped `campaign-contract.json`. Preserve parent/product authority. Native imagery may be expressive; factual copy stays literal. Proofread every visible occurrence before customer release.

print.md

creative/channel-recipes/print.md

MD · 625 B

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# Leaflet/insert

Format: Printer-specified

Identity: Light flat logo; restrained violet material

Proposed A6 105×148 mm, 3 mm bleed and 5 mm safe margin are provisional. Verify print process and profile.

Required inputs: trim, bleed, ICC profile, paper, approved copy, real QR destination.

Delivery status: concept; not print-ready PDF.

Use `VISUAL_LOCK.md`, selected source and final logo, `exact-copy.json`, `tokens.json` and scoped `campaign-contract.json`. Preserve parent/product authority. Native imagery may be expressive; factual copy stays literal. Proofread every visible occurrence before customer release.

social-feed.md

creative/channel-recipes/social-feed.md

MD · 582 B

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# Square feed

Format: 1:1

Identity: Selected locale light/dark/3D

One dominant message, full readable wordmark, substantial quiet margin; adapt layout instead of cropping a board.

Required inputs: placement dimensions, approved exact copy, product packet if applicable.

Delivery status: recipe.

Use `VISUAL_LOCK.md`, selected source and final logo, `exact-copy.json`, `tokens.json` and scoped `campaign-contract.json`. Preserve parent/product authority. Native imagery may be expressive; factual copy stays literal. Proofread every visible occurrence before customer release.

social-portrait.md

creative/channel-recipes/social-portrait.md

MD · 715 B

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# Paid/social portrait

Format: 9:16

Identity: Selected locale light/dark/3D

All text, logos, UI and their depth inside invisible centred full-width square; 0.06W inner padding. Unlettered scene may continue outside.

Required inputs: placement dimensions, brand/market/locale/currency, approved exact copy, product packet when featuring SKU, destination when actionable.

Delivery status: recipe; no independent placement export.

Use `VISUAL_LOCK.md`, selected source and final logo, `exact-copy.json`, `tokens.json` and scoped `campaign-contract.json`. Preserve parent/product authority. Native imagery may be expressive; factual copy stays literal. Proofread every visible occurrence before customer release.

web.md

creative/channel-recipes/web.md

MD · 567 B

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# Web/app implementation

Format: Responsive

Identity: Byte-identical flat PNG WEB aliases

Live text and local Nunito Sans; functional controls use semantic HTML.

Required inputs: application integration, actual routing, content source.

Delivery status: offline specimen included.

Use `VISUAL_LOCK.md`, selected source and final logo, `exact-copy.json`, `tokens.json` and scoped `campaign-contract.json`. Preserve parent/product authority. Native imagery may be expressive; factual copy stays literal. Proofread every visible occurrence before customer release.

release-be-fr-dark.json

creative/payloads/logos/release-be-fr-dark.json

JSON · 32,927 B

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{
  "prompt": "OUTPUT STAGE: STANDALONE LOGO\nAPPROVED WORDMARK: Semaine mondiale de l'allaitement\n\nCRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK\n\nThe earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.\n\nRELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY\n\nThe owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.\n\nREFERENCE MAP\nfirst image: [APPROVED-BE-FR] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.\nsecond image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.\nthird image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.\nfourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.\nEND REFERENCE MAP\n\nACTUAL IDENTITY LOCK\n\nThe first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.\n\nKeep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.\n\nEXACT LETTERING IS PART OF THE APPROVED IDENTITY\n\nUse only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.\n\nOnly the approved name is visible. Do not print the market key, country, language, mode name, hex value, file name, numbering, annotation, subtitle, slogan, year, offer, percentage, website, registration mark, signature, brandkit title, corporate endorsement, or a reference brand. This call returns a production asset, so its workflow labels remain invisible. A checkerboard, color chip, mode badge, or white rectangle with the logo on it is not part of the logo.\n\nTRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT\n\nThe output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.\n\nPreserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.\n\nThink of the PNG as artwork that can be placed over any destination canvas. When the receiving page is dark, the transparent faces and counters reveal that dark page; when it is light, they reveal the light page. Do not bake either destination into this asset. The mode-specific colors below govern only the opaque artwork. A suggestion of a web canvas color is contextual information for contrast, never permission to render a background.\n\nSINGLE-ASSET COMPOSITION AND DELIVERY\n\nReturn one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.\n\nFINAL INTERNAL COMPARISON\n\nBefore returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.\n\nThen inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.\n\nMODE: DARK TRANSPARENT FLAT LOGO\n\nPreserve the approved flat geometry and replace only its opaque artwork colors. The complete positive mother-and-infant symbol is sRGB #C9A7E1. The entire approved text and both closed-eye crescents are sRGB #F5EEFA. These lighter opaque colors are intended to contrast with a dark website canvas such as #251330. Do not draw that dark canvas, or any other canvas color, inside the PNG. Every original background and negative-space region becomes fully transparent.\n\nDo not invert the topology or fill the faces pale simply because this is dark mode. Both faces reveal the receiving page through alpha; only their two existing eye crescents remain opaque pale lilac. Letter counters reveal the receiving page as well. No depth, bevel, extrusion, grain, metallic effect, shadow, halo, glow, or gradient. This is a clean flat two-color adaptation of the approved actual logo, with every contour and line of text preserved.\n\nEXACT APPROVED COPY TO PRESERVE\n\nRender precisely these 2 approved line(s), unchanged from the first reference:\nSemaine mondiale\nde l'allaitement\n\nCOPY RISKS\nOnly S is capital in supplied sentence case. Keep lowercase mondiale and allaitement, apostrophe in l'allaitement. Do not append Maternel; that belongs to the separate France wording.\n\n# Active generation contract — v4.0.0\n\nThis is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.\n\nRead the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.\n\n## D — active design rules\n\n### D-01\n\nFORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.\n\n### D-02\n\nCOLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.\n\n### D-03\n\nONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.\n\n### D-04\n\nMEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.\n\n### D-05\n\nPURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.\n\n### D-06\n\nCONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.\n\n### D-07\n\nREADABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.\n\n### D-08\n\nINTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.\n\n### D-09\n\nCONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.\n\n### D-10\n\nNUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.\n\n### D-11\n\nOPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.\n\n### D-12\n\nRESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.\n\n### D-13\n\nCOHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.\n\n### D-14\n\nRADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.\n\n### D-15\n\nPURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.\n\n### D-16\n\nAUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.\n\n### D-17\n\nLETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.\n\n## W — active working principles\n\n### W-01\n\nEach candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.\n\n### W-02\n\nSolve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.\n\n### W-03\n\nLet the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.\n\n### W-04\n\nSeek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.\n\n### W-05\n\nSeek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.\n\n### W-06\n\nMake thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.\n\n### W-07\n\nDesign for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.\n\n### W-08\n\nChoose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.\n\n### W-09\n\nRequire particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.\n\n### W-10\n\nGive each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.\n\n### W-11\n\nSolve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.\n\n### W-12\n\nReduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.\n\n### W-13\n\nEstablish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.\n\n### W-14\n\nMake the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.\n\n### W-15\n\nUse reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.\n\n### W-16\n\nSeek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.\n\n### W-17\n\nDescribe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.\n\n### W-18\n\nConsider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.\n\n### W-19\n\nPreserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.\n\n### W-20\n\nPut communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.\n\n## C — active control questions\n\n### C-01\n\nWhich observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.\n\n### C-02\n\nCan this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?\n\n### C-03\n\nWhat actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?\n\n### C-04\n\nDid simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?\n\n### C-05\n\nDoes one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?\n\n### C-06\n\nWhat dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?\n\n## I — full curriculum of methods and examples\n\n### I-01 — Peter Behrens\n\nCurriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.\n\n### I-02 — A.M. Cassandre\n\nCurriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.\n\n### I-03 — Paul Rand\n\nCurriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.\n\n### I-04 — Saul Bass\n\nCurriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.\n\n### I-05 — Raymond Loewy\n\nCurriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.\n\n### I-06 — Milton Glaser\n\nCurriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.\n\n### I-07 — Ivan Chermayeff\n\nCurriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.\n\n### I-08 — Tom Geismar\n\nCurriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.\n\n### I-09 — Otl Aicher\n\nCurriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.\n\n### I-10 — Yusaku Kamekura\n\nCurriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.\n\n### I-11 — Alan Fletcher\n\nCurriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.\n\n### I-12 — Herb Lubalin\n\nCurriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.\n\n### I-13 — Walter Landor\n\nCurriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.\n\n### I-14 — Carolyn Davidson\n\nCurriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.\n\n### I-15 — Rob Janoff\n\nCurriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.\n\n### I-16 — Lindon Leader\n\nCurriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.\n\n### I-17 — Paula Scher\n\nCurriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.\n\n### I-18 — Henry Steiner\n\nThe source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.\n\n### I-19 — Michael Bierut\n\nCurriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.\n\n\n\nHISTORICAL REFERENCE MECHANISMS\n\nATTACHED REFERENCE 2: GI19 / dog & fish\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nDirect visual verification\nA dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.\n\nTransferable inspiration\n**When this is useful:** Two subjects share a contour or figure/ground boundary.\n\n**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.\n\n**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?\n\nATTACHED REFERENCE 3: ST44 / COUNTERS\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical description\nThe boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.\n\nUsable formal mechanisms\nMake the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.\n\nFit conditions\nUseful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.\n\nConflicts, risks, and scale or monochrome adaptations\nA forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.\n\nWhat not to copy\nDo not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.\n\nATTACHED REFERENCE 4: ST74 / BRACKETING\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical design description\nLet two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.\n\nUsable mechanisms\nTwo complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.\n\nFit conditions\nUseful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.\n\nConflicts, scale, monochrome, and adaptations\nGeneric ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.\n\nWhat not to copy\nDo not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.\n\nPreserve the baseline of every approved text line. A physical-looking letter may have a beveled face, but its front silhouette still follows the selected humanist sans design. No letter tilts independently or moves out of alignment.\n",
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release-be-fr-full-3d.json

creative/payloads/logos/release-be-fr-full-3d.json

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{
  "prompt": "OUTPUT STAGE: STANDALONE LOGO\nAPPROVED WORDMARK: Semaine mondiale de l'allaitement\n\nCRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK\n\nThe earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.\n\nRELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY\n\nThe owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.\n\nREFERENCE MAP\nfirst image: [APPROVED-BE-FR] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.\nsecond image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.\nthird image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.\nfourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.\nEND REFERENCE MAP\n\nACTUAL IDENTITY LOCK\n\nThe first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.\n\nKeep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.\n\nEXACT LETTERING IS PART OF THE APPROVED IDENTITY\n\nUse only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.\n\nTRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT\n\nThe output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.\n\nPreserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.\n\nSINGLE-ASSET COMPOSITION AND DELIVERY\n\nReturn one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.\n\nFINAL INTERNAL COMPARISON\n\nBefore returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.\n\nThen inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.\n\nMODE: FULL 3D TRANSPARENT SCULPTURAL LOGO\n\nTransform the positive shapes of the approved logo into a substantial satin violet porcelain-like sculptural object while preserving its precise frontal identity and spelling. Use an orthographic frontal camera so the name remains easy to read and the approved proportions stay recognizable. Extrude the symbol and letters to a clear depth approximately eight percent of the symbol's height, with softly rounded bevels, visible side faces, and controlled occlusion. The result must visibly have depth, not merely a flat purple graphic with a drop shadow.\n\nThe symbol's front material is based on #8A5AA5 violet, with realistic lighter highlights and darker purple side shading from a soft upper-left studio light. The wordmark becomes coherent raised sculptural deep-plum lettering based on #4F2873, with the same lettering shapes and exact approved lines. Give the typography its own readable dimensional bevels without making counters close or letters join. Both existing small eye crescents remain deep-plum opaque inlay-like sculptural details in their original locations.\n\nAll faces, neck openings, infant openings, letter counters, spaces, and surrounding canvas remain full alpha cutouts through the object. Never fill these spaces with a porcelain plate, skin-colored face, transparent glass, background disc, plaque, connected backing sheet, or floor. Isolated eye marks and isolated letters are permitted floating parts in this logo asset. Use light on the object itself, without a cast shadow on an invented receiving surface. No plinth, stage, jewelry item, extra object, room, border, or photographic scenery.\n\nMaintain the original front-facing symbol silhouette and text arrangement. Extrusion and bevels may introduce physically meaningful side contours, but must not redraw profiles, add eyelashes, erase an accent, obscure an apostrophe, or change the approved words. The material is satin rather than mirror chrome; highlights should clarify the rounding and depth without washing out the lettering. This PNG is a full 3D-style rendered logo asset, not a deliverable mesh or an animated scene.\n\nEXACT APPROVED COPY TO PRESERVE\n\nRender precisely these 2 approved line(s), unchanged from the first reference:\nSemaine mondiale\nde l'allaitement\n\nCOPY RISKS\nOnly S is capital in supplied sentence case. Keep lowercase mondiale and allaitement, apostrophe in l'allaitement. Do not append Maternel; that belongs to the separate France wording.\n\n# Active generation contract — v4.0.0\n\nThis is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.\n\nRead the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.\n\n## D — active design rules\n\n### D-01\n\nFORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.\n\n### D-02\n\nCOLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.\n\n### D-03\n\nONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.\n\n### D-04\n\nMEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.\n\n### D-05\n\nPURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.\n\n### D-06\n\nCONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.\n\n### D-07\n\nREADABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.\n\n### D-08\n\nINTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.\n\n### D-09\n\nCONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.\n\n### D-10\n\nNUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.\n\n### D-11\n\nOPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.\n\n### D-12\n\nRESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.\n\n### D-13\n\nCOHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.\n\n### D-14\n\nRADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.\n\n### D-15\n\nPURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.\n\n### D-16\n\nAUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.\n\n### D-17\n\nLETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.\n\n## W — active working principles\n\n### W-01\n\nEach candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.\n\n### W-02\n\nSolve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.\n\n### W-03\n\nLet the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.\n\n### W-04\n\nSeek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.\n\n### W-05\n\nSeek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.\n\n### W-06\n\nMake thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.\n\n### W-07\n\nDesign for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.\n\n### W-08\n\nChoose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.\n\n### W-09\n\nRequire particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.\n\n### W-10\n\nGive each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.\n\n### W-11\n\nSolve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.\n\n### W-12\n\nReduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.\n\n### W-13\n\nEstablish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.\n\n### W-14\n\nMake the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.\n\n### W-15\n\nUse reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.\n\n### W-16\n\nSeek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.\n\n### W-17\n\nDescribe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.\n\n### W-18\n\nConsider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.\n\n### W-19\n\nPreserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.\n\n### W-20\n\nPut communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.\n\n## C — active control questions\n\n### C-01\n\nWhich observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.\n\n### C-02\n\nCan this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?\n\n### C-03\n\nWhat actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?\n\n### C-04\n\nDid simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?\n\n### C-05\n\nDoes one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?\n\n### C-06\n\nWhat dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?\n\n## I — full curriculum of methods and examples\n\n### I-01 — Peter Behrens\n\nCurriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.\n\n### I-02 — A.M. Cassandre\n\nCurriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.\n\n### I-03 — Paul Rand\n\nCurriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.\n\n### I-04 — Saul Bass\n\nCurriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.\n\n### I-05 — Raymond Loewy\n\nCurriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.\n\n### I-06 — Milton Glaser\n\nCurriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.\n\n### I-07 — Ivan Chermayeff\n\nCurriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.\n\n### I-08 — Tom Geismar\n\nCurriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.\n\n### I-09 — Otl Aicher\n\nCurriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.\n\n### I-10 — Yusaku Kamekura\n\nCurriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.\n\n### I-11 — Alan Fletcher\n\nCurriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.\n\n### I-12 — Herb Lubalin\n\nCurriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.\n\n### I-13 — Walter Landor\n\nCurriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.\n\n### I-14 — Carolyn Davidson\n\nCurriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.\n\n### I-15 — Rob Janoff\n\nCurriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.\n\n### I-16 — Lindon Leader\n\nCurriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.\n\n### I-17 — Paula Scher\n\nCurriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.\n\n### I-18 — Henry Steiner\n\nThe source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.\n\n### I-19 — Michael Bierut\n\nCurriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.\n\n\n\nHISTORICAL REFERENCE MECHANISMS\n\nATTACHED REFERENCE 2: GI19 / dog & fish\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nDirect visual verification\nA dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.\n\nTransferable inspiration\n**When this is useful:** Two subjects share a contour or figure/ground boundary.\n\n**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.\n\n**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?\n\nATTACHED REFERENCE 3: ST44 / COUNTERS\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical description\nThe boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.\n\nUsable formal mechanisms\nMake the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.\n\nFit conditions\nUseful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.\n\nConflicts, risks, and scale or monochrome adaptations\nA forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.\n\nWhat not to copy\nDo not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.\n\nATTACHED REFERENCE 4: ST74 / BRACKETING\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical design description\nLet two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.\n\nUsable mechanisms\nTwo complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.\n\nFit conditions\nUseful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.\n\nConflicts, scale, monochrome, and adaptations\nGeneric ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.\n\nWhat not to copy\nDo not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.\n",
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release-be-fr-light.json

creative/payloads/logos/release-be-fr-light.json

JSON · 32,894 B

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{
  "prompt": "OUTPUT STAGE: STANDALONE LOGO\nAPPROVED WORDMARK: Semaine mondiale de l'allaitement\n\nCRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK\n\nThe earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.\n\nRELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY\n\nThe owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.\n\nREFERENCE MAP\nfirst image: [APPROVED-BE-FR] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.\nsecond image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.\nthird image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.\nfourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.\nEND REFERENCE MAP\n\nACTUAL IDENTITY LOCK\n\nThe first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.\n\nKeep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.\n\nEXACT LETTERING IS PART OF THE APPROVED IDENTITY\n\nUse only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.\n\nOnly the approved name is visible. Do not print the market key, country, language, mode name, hex value, file name, numbering, annotation, subtitle, slogan, year, offer, percentage, website, registration mark, signature, brandkit title, corporate endorsement, or a reference brand. This call returns a production asset, so its workflow labels remain invisible. A checkerboard, color chip, mode badge, or white rectangle with the logo on it is not part of the logo.\n\nTRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT\n\nThe output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.\n\nPreserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.\n\nThink of the PNG as artwork that can be placed over any destination canvas. When the receiving page is dark, the transparent faces and counters reveal that dark page; when it is light, they reveal the light page. Do not bake either destination into this asset. The mode-specific colors below govern only the opaque artwork. A suggestion of a web canvas color is contextual information for contrast, never permission to render a background.\n\nSINGLE-ASSET COMPOSITION AND DELIVERY\n\nReturn one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.\n\nFINAL INTERNAL COMPARISON\n\nBefore returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.\n\nThen inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.\n\nMODE: LIGHT TRANSPARENT FLAT LOGO\n\nRetain the approved flat design. Fill the complete positive mother-and-infant symbol with sRGB #8A5AA5. Fill the entire approved text and both closed-eye crescents with sRGB #4F2873. Keep these colors uniform and opaque. Remove the source background and every pale internal negative shape to full transparency. The light mode means these dark-enough artwork colors are intended for light destination surfaces; it does not mean adding a white or lilac background inside the PNG.\n\nNo depth, bevel, extrusion, material reflection, shadow, glow, metallic finish, embossing, gradient, grain, paper texture, or lighting effect. Preserve the source's exact contours and typography. Normal antialiasing may occur at boundaries only. This is the flat light-mode master for web and layout placement, with the source palette retained in the positive artwork and genuine alpha in all empty regions.\n\nEXACT APPROVED COPY TO PRESERVE\n\nRender precisely these 2 approved line(s), unchanged from the first reference:\nSemaine mondiale\nde l'allaitement\n\nCOPY RISKS\nOnly S is capital in supplied sentence case. Keep lowercase mondiale and allaitement, apostrophe in l'allaitement. Do not append Maternel; that belongs to the separate France wording.\n\n# Active generation contract — v4.0.0\n\nThis is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.\n\nRead the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.\n\n## D — active design rules\n\n### D-01\n\nFORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.\n\n### D-02\n\nCOLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.\n\n### D-03\n\nONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.\n\n### D-04\n\nMEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.\n\n### D-05\n\nPURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.\n\n### D-06\n\nCONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.\n\n### D-07\n\nREADABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.\n\n### D-08\n\nINTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.\n\n### D-09\n\nCONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.\n\n### D-10\n\nNUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.\n\n### D-11\n\nOPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.\n\n### D-12\n\nRESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.\n\n### D-13\n\nCOHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.\n\n### D-14\n\nRADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.\n\n### D-15\n\nPURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.\n\n### D-16\n\nAUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.\n\n### D-17\n\nLETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.\n\n## W — active working principles\n\n### W-01\n\nEach candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.\n\n### W-02\n\nSolve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.\n\n### W-03\n\nLet the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.\n\n### W-04\n\nSeek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.\n\n### W-05\n\nSeek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.\n\n### W-06\n\nMake thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.\n\n### W-07\n\nDesign for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.\n\n### W-08\n\nChoose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.\n\n### W-09\n\nRequire particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.\n\n### W-10\n\nGive each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.\n\n### W-11\n\nSolve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.\n\n### W-12\n\nReduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.\n\n### W-13\n\nEstablish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.\n\n### W-14\n\nMake the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.\n\n### W-15\n\nUse reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.\n\n### W-16\n\nSeek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.\n\n### W-17\n\nDescribe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.\n\n### W-18\n\nConsider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.\n\n### W-19\n\nPreserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.\n\n### W-20\n\nPut communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.\n\n## C — active control questions\n\n### C-01\n\nWhich observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.\n\n### C-02\n\nCan this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?\n\n### C-03\n\nWhat actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?\n\n### C-04\n\nDid simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?\n\n### C-05\n\nDoes one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?\n\n### C-06\n\nWhat dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?\n\n## I — full curriculum of methods and examples\n\n### I-01 — Peter Behrens\n\nCurriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.\n\n### I-02 — A.M. Cassandre\n\nCurriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.\n\n### I-03 — Paul Rand\n\nCurriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.\n\n### I-04 — Saul Bass\n\nCurriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.\n\n### I-05 — Raymond Loewy\n\nCurriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.\n\n### I-06 — Milton Glaser\n\nCurriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.\n\n### I-07 — Ivan Chermayeff\n\nCurriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.\n\n### I-08 — Tom Geismar\n\nCurriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.\n\n### I-09 — Otl Aicher\n\nCurriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.\n\n### I-10 — Yusaku Kamekura\n\nCurriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.\n\n### I-11 — Alan Fletcher\n\nCurriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.\n\n### I-12 — Herb Lubalin\n\nCurriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.\n\n### I-13 — Walter Landor\n\nCurriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.\n\n### I-14 — Carolyn Davidson\n\nCurriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.\n\n### I-15 — Rob Janoff\n\nCurriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.\n\n### I-16 — Lindon Leader\n\nCurriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.\n\n### I-17 — Paula Scher\n\nCurriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.\n\n### I-18 — Henry Steiner\n\nThe source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.\n\n### I-19 — Michael Bierut\n\nCurriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.\n\n\n\nHISTORICAL REFERENCE MECHANISMS\n\nATTACHED REFERENCE 2: GI19 / dog & fish\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nDirect visual verification\nA dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.\n\nTransferable inspiration\n**When this is useful:** Two subjects share a contour or figure/ground boundary.\n\n**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.\n\n**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?\n\nATTACHED REFERENCE 3: ST44 / COUNTERS\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical description\nThe boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.\n\nUsable formal mechanisms\nMake the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.\n\nFit conditions\nUseful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.\n\nConflicts, risks, and scale or monochrome adaptations\nA forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.\n\nWhat not to copy\nDo not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.\n\nATTACHED REFERENCE 4: ST74 / BRACKETING\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical design description\nLet two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.\n\nUsable mechanisms\nTwo complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.\n\nFit conditions\nUseful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.\n\nConflicts, scale, monochrome, and adaptations\nGeneric ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.\n\nWhat not to copy\nDo not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.\n\nPreserve the baseline of every approved text line. A physical-looking letter may have a beveled face, but its front silhouette still follows the selected humanist sans design. No letter tilts independently or moves out of alignment.\n",
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release-be-nl-dark.json

creative/payloads/logos/release-be-nl-dark.json

JSON · 32,857 B

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{
  "prompt": "OUTPUT STAGE: STANDALONE LOGO\nAPPROVED WORDMARK: Wereldborstvoedingsweek\n\nCRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK\n\nThe earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.\n\nRELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY\n\nThe owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.\n\nREFERENCE MAP\nfirst image: [APPROVED-BE-NL] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.\nsecond image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.\nthird image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.\nfourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.\nEND REFERENCE MAP\n\nACTUAL IDENTITY LOCK\n\nThe first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.\n\nKeep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.\n\nEXACT LETTERING IS PART OF THE APPROVED IDENTITY\n\nUse only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.\n\nOnly the approved name is visible. Do not print the market key, country, language, mode name, hex value, file name, numbering, annotation, subtitle, slogan, year, offer, percentage, website, registration mark, signature, brandkit title, corporate endorsement, or a reference brand. This call returns a production asset, so its workflow labels remain invisible. A checkerboard, color chip, mode badge, or white rectangle with the logo on it is not part of the logo.\n\nTRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT\n\nThe output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.\n\nPreserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.\n\nThink of the PNG as artwork that can be placed over any destination canvas. When the receiving page is dark, the transparent faces and counters reveal that dark page; when it is light, they reveal the light page. Do not bake either destination into this asset. The mode-specific colors below govern only the opaque artwork. A suggestion of a web canvas color is contextual information for contrast, never permission to render a background.\n\nSINGLE-ASSET COMPOSITION AND DELIVERY\n\nReturn one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.\n\nFINAL INTERNAL COMPARISON\n\nBefore returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.\n\nThen inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.\n\nMODE: DARK TRANSPARENT FLAT LOGO\n\nPreserve the approved flat geometry and replace only its opaque artwork colors. The complete positive mother-and-infant symbol is sRGB #C9A7E1. The entire approved text and both closed-eye crescents are sRGB #F5EEFA. These lighter opaque colors are intended to contrast with a dark website canvas such as #251330. Do not draw that dark canvas, or any other canvas color, inside the PNG. Every original background and negative-space region becomes fully transparent.\n\nDo not invert the topology or fill the faces pale simply because this is dark mode. Both faces reveal the receiving page through alpha; only their two existing eye crescents remain opaque pale lilac. Letter counters reveal the receiving page as well. No depth, bevel, extrusion, grain, metallic effect, shadow, halo, glow, or gradient. This is a clean flat two-color adaptation of the approved actual logo, with every contour and line of text preserved.\n\nEXACT APPROVED COPY TO PRESERVE\n\nRender precisely these 1 approved line(s), unchanged from the first reference:\nWereldborstvoedingsweek\n\nCOPY RISKS\nExact single unbroken compound Wereldborstvoedingsweek. Do not split by an inserted space or hyphen, and do not substitute Landelijke.\n\n# Active generation contract — v4.0.0\n\nThis is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.\n\nRead the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.\n\n## D — active design rules\n\n### D-01\n\nFORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.\n\n### D-02\n\nCOLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.\n\n### D-03\n\nONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.\n\n### D-04\n\nMEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.\n\n### D-05\n\nPURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.\n\n### D-06\n\nCONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.\n\n### D-07\n\nREADABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.\n\n### D-08\n\nINTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.\n\n### D-09\n\nCONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.\n\n### D-10\n\nNUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.\n\n### D-11\n\nOPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.\n\n### D-12\n\nRESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.\n\n### D-13\n\nCOHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.\n\n### D-14\n\nRADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.\n\n### D-15\n\nPURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.\n\n### D-16\n\nAUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.\n\n### D-17\n\nLETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.\n\n## W — active working principles\n\n### W-01\n\nEach candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.\n\n### W-02\n\nSolve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.\n\n### W-03\n\nLet the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.\n\n### W-04\n\nSeek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.\n\n### W-05\n\nSeek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.\n\n### W-06\n\nMake thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.\n\n### W-07\n\nDesign for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.\n\n### W-08\n\nChoose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.\n\n### W-09\n\nRequire particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.\n\n### W-10\n\nGive each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.\n\n### W-11\n\nSolve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.\n\n### W-12\n\nReduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.\n\n### W-13\n\nEstablish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.\n\n### W-14\n\nMake the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.\n\n### W-15\n\nUse reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.\n\n### W-16\n\nSeek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.\n\n### W-17\n\nDescribe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.\n\n### W-18\n\nConsider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.\n\n### W-19\n\nPreserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.\n\n### W-20\n\nPut communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.\n\n## C — active control questions\n\n### C-01\n\nWhich observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.\n\n### C-02\n\nCan this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?\n\n### C-03\n\nWhat actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?\n\n### C-04\n\nDid simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?\n\n### C-05\n\nDoes one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?\n\n### C-06\n\nWhat dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?\n\n## I — full curriculum of methods and examples\n\n### I-01 — Peter Behrens\n\nCurriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.\n\n### I-02 — A.M. Cassandre\n\nCurriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.\n\n### I-03 — Paul Rand\n\nCurriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.\n\n### I-04 — Saul Bass\n\nCurriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.\n\n### I-05 — Raymond Loewy\n\nCurriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.\n\n### I-06 — Milton Glaser\n\nCurriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.\n\n### I-07 — Ivan Chermayeff\n\nCurriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.\n\n### I-08 — Tom Geismar\n\nCurriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.\n\n### I-09 — Otl Aicher\n\nCurriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.\n\n### I-10 — Yusaku Kamekura\n\nCurriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.\n\n### I-11 — Alan Fletcher\n\nCurriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.\n\n### I-12 — Herb Lubalin\n\nCurriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.\n\n### I-13 — Walter Landor\n\nCurriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.\n\n### I-14 — Carolyn Davidson\n\nCurriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.\n\n### I-15 — Rob Janoff\n\nCurriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.\n\n### I-16 — Lindon Leader\n\nCurriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.\n\n### I-17 — Paula Scher\n\nCurriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.\n\n### I-18 — Henry Steiner\n\nThe source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.\n\n### I-19 — Michael Bierut\n\nCurriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.\n\n\n\nHISTORICAL REFERENCE MECHANISMS\n\nATTACHED REFERENCE 2: GI19 / dog & fish\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nDirect visual verification\nA dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.\n\nTransferable inspiration\n**When this is useful:** Two subjects share a contour or figure/ground boundary.\n\n**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.\n\n**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?\n\nATTACHED REFERENCE 3: ST44 / COUNTERS\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical description\nThe boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.\n\nUsable formal mechanisms\nMake the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.\n\nFit conditions\nUseful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.\n\nConflicts, risks, and scale or monochrome adaptations\nA forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.\n\nWhat not to copy\nDo not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.\n\nATTACHED REFERENCE 4: ST74 / BRACKETING\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical design description\nLet two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.\n\nUsable mechanisms\nTwo complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.\n\nFit conditions\nUseful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.\n\nConflicts, scale, monochrome, and adaptations\nGeneric ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.\n\nWhat not to copy\nDo not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.\n\nPreserve the baseline of every approved text line. A physical-looking letter may have a beveled face, but its front silhouette still follows the selected humanist sans design. No letter tilts independently or moves out of alignment.\n",
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release-be-nl-full-3d.json

creative/payloads/logos/release-be-nl-full-3d.json

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{
  "prompt": "OUTPUT STAGE: STANDALONE LOGO\nAPPROVED WORDMARK: Wereldborstvoedingsweek\n\nCRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK\n\nThe earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.\n\nRELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY\n\nThe owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.\n\nREFERENCE MAP\nfirst image: [APPROVED-BE-NL] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.\nsecond image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.\nthird image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.\nfourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.\nEND REFERENCE MAP\n\nACTUAL IDENTITY LOCK\n\nThe first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.\n\nKeep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.\n\nEXACT LETTERING IS PART OF THE APPROVED IDENTITY\n\nUse only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.\n\nTRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT\n\nThe output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.\n\nPreserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.\n\nSINGLE-ASSET COMPOSITION AND DELIVERY\n\nReturn one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.\n\nFINAL INTERNAL COMPARISON\n\nBefore returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.\n\nThen inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.\n\nMODE: FULL 3D TRANSPARENT SCULPTURAL LOGO\n\nTransform the positive shapes of the approved logo into a substantial satin violet porcelain-like sculptural object while preserving its precise frontal identity and spelling. Use an orthographic frontal camera so the name remains easy to read and the approved proportions stay recognizable. Extrude the symbol and letters to a clear depth approximately eight percent of the symbol's height, with softly rounded bevels, visible side faces, and controlled occlusion. The result must visibly have depth, not merely a flat purple graphic with a drop shadow.\n\nThe symbol's front material is based on #8A5AA5 violet, with realistic lighter highlights and darker purple side shading from a soft upper-left studio light. The wordmark becomes coherent raised sculptural deep-plum lettering based on #4F2873, with the same lettering shapes and exact approved lines. Give the typography its own readable dimensional bevels without making counters close or letters join. Both existing small eye crescents remain deep-plum opaque inlay-like sculptural details in their original locations.\n\nAll faces, neck openings, infant openings, letter counters, spaces, and surrounding canvas remain full alpha cutouts through the object. Never fill these spaces with a porcelain plate, skin-colored face, transparent glass, background disc, plaque, connected backing sheet, or floor. Isolated eye marks and isolated letters are permitted floating parts in this logo asset. Use light on the object itself, without a cast shadow on an invented receiving surface. No plinth, stage, jewelry item, extra object, room, border, or photographic scenery.\n\nMaintain the original front-facing symbol silhouette and text arrangement. Extrusion and bevels may introduce physically meaningful side contours, but must not redraw profiles, add eyelashes, erase an accent, obscure an apostrophe, or change the approved words. The material is satin rather than mirror chrome; highlights should clarify the rounding and depth without washing out the lettering. This PNG is a full 3D-style rendered logo asset, not a deliverable mesh or an animated scene.\n\nEXACT APPROVED COPY TO PRESERVE\n\nRender precisely these 1 approved line(s), unchanged from the first reference:\nWereldborstvoedingsweek\n\nCOPY RISKS\nExact single unbroken compound Wereldborstvoedingsweek. Do not split by an inserted space or hyphen, and do not substitute Landelijke.\n\n# Active generation contract — v4.0.0\n\nThis is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.\n\nRead the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.\n\n## D — active design rules\n\n### D-01\n\nFORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.\n\n### D-02\n\nCOLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.\n\n### D-03\n\nONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.\n\n### D-04\n\nMEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.\n\n### D-05\n\nPURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.\n\n### D-06\n\nCONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.\n\n### D-07\n\nREADABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.\n\n### D-08\n\nINTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.\n\n### D-09\n\nCONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.\n\n### D-10\n\nNUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.\n\n### D-11\n\nOPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.\n\n### D-12\n\nRESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.\n\n### D-13\n\nCOHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.\n\n### D-14\n\nRADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.\n\n### D-15\n\nPURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.\n\n### D-16\n\nAUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.\n\n### D-17\n\nLETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.\n\n## W — active working principles\n\n### W-01\n\nEach candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.\n\n### W-02\n\nSolve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.\n\n### W-03\n\nLet the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.\n\n### W-04\n\nSeek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.\n\n### W-05\n\nSeek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.\n\n### W-06\n\nMake thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.\n\n### W-07\n\nDesign for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.\n\n### W-08\n\nChoose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.\n\n### W-09\n\nRequire particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.\n\n### W-10\n\nGive each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.\n\n### W-11\n\nSolve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.\n\n### W-12\n\nReduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.\n\n### W-13\n\nEstablish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.\n\n### W-14\n\nMake the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.\n\n### W-15\n\nUse reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.\n\n### W-16\n\nSeek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.\n\n### W-17\n\nDescribe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.\n\n### W-18\n\nConsider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.\n\n### W-19\n\nPreserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.\n\n### W-20\n\nPut communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.\n\n## C — active control questions\n\n### C-01\n\nWhich observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.\n\n### C-02\n\nCan this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?\n\n### C-03\n\nWhat actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?\n\n### C-04\n\nDid simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?\n\n### C-05\n\nDoes one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?\n\n### C-06\n\nWhat dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?\n\n## I — full curriculum of methods and examples\n\n### I-01 — Peter Behrens\n\nCurriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.\n\n### I-02 — A.M. Cassandre\n\nCurriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.\n\n### I-03 — Paul Rand\n\nCurriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.\n\n### I-04 — Saul Bass\n\nCurriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.\n\n### I-05 — Raymond Loewy\n\nCurriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.\n\n### I-06 — Milton Glaser\n\nCurriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.\n\n### I-07 — Ivan Chermayeff\n\nCurriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.\n\n### I-08 — Tom Geismar\n\nCurriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.\n\n### I-09 — Otl Aicher\n\nCurriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.\n\n### I-10 — Yusaku Kamekura\n\nCurriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.\n\n### I-11 — Alan Fletcher\n\nCurriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.\n\n### I-12 — Herb Lubalin\n\nCurriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.\n\n### I-13 — Walter Landor\n\nCurriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.\n\n### I-14 — Carolyn Davidson\n\nCurriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.\n\n### I-15 — Rob Janoff\n\nCurriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.\n\n### I-16 — Lindon Leader\n\nCurriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.\n\n### I-17 — Paula Scher\n\nCurriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.\n\n### I-18 — Henry Steiner\n\nThe source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.\n\n### I-19 — Michael Bierut\n\nCurriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.\n\n\n\nHISTORICAL REFERENCE MECHANISMS\n\nATTACHED REFERENCE 2: GI19 / dog & fish\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nDirect visual verification\nA dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.\n\nTransferable inspiration\n**When this is useful:** Two subjects share a contour or figure/ground boundary.\n\n**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.\n\n**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?\n\nATTACHED REFERENCE 3: ST44 / COUNTERS\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical description\nThe boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.\n\nUsable formal mechanisms\nMake the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.\n\nFit conditions\nUseful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.\n\nConflicts, risks, and scale or monochrome adaptations\nA forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.\n\nWhat not to copy\nDo not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.\n\nATTACHED REFERENCE 4: ST74 / BRACKETING\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical design description\nLet two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.\n\nUsable mechanisms\nTwo complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.\n\nFit conditions\nUseful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.\n\nConflicts, scale, monochrome, and adaptations\nGeneric ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.\n\nWhat not to copy\nDo not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.\n",
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release-be-nl-light.json

creative/payloads/logos/release-be-nl-light.json

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{
  "prompt": "OUTPUT STAGE: STANDALONE LOGO\nAPPROVED WORDMARK: Wereldborstvoedingsweek\n\nCRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK\n\nThe earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.\n\nRELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY\n\nThe owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.\n\nREFERENCE MAP\nfirst image: [APPROVED-BE-NL] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.\nsecond image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.\nthird image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.\nfourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.\nEND REFERENCE MAP\n\nACTUAL IDENTITY LOCK\n\nThe first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.\n\nKeep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.\n\nEXACT LETTERING IS PART OF THE APPROVED IDENTITY\n\nUse only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.\n\nOnly the approved name is visible. Do not print the market key, country, language, mode name, hex value, file name, numbering, annotation, subtitle, slogan, year, offer, percentage, website, registration mark, signature, brandkit title, corporate endorsement, or a reference brand. This call returns a production asset, so its workflow labels remain invisible. A checkerboard, color chip, mode badge, or white rectangle with the logo on it is not part of the logo.\n\nTRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT\n\nThe output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.\n\nPreserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.\n\nThink of the PNG as artwork that can be placed over any destination canvas. When the receiving page is dark, the transparent faces and counters reveal that dark page; when it is light, they reveal the light page. Do not bake either destination into this asset. The mode-specific colors below govern only the opaque artwork. A suggestion of a web canvas color is contextual information for contrast, never permission to render a background.\n\nSINGLE-ASSET COMPOSITION AND DELIVERY\n\nReturn one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.\n\nFINAL INTERNAL COMPARISON\n\nBefore returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.\n\nThen inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.\n\nMODE: LIGHT TRANSPARENT FLAT LOGO\n\nRetain the approved flat design. Fill the complete positive mother-and-infant symbol with sRGB #8A5AA5. Fill the entire approved text and both closed-eye crescents with sRGB #4F2873. Keep these colors uniform and opaque. Remove the source background and every pale internal negative shape to full transparency. The light mode means these dark-enough artwork colors are intended for light destination surfaces; it does not mean adding a white or lilac background inside the PNG.\n\nNo depth, bevel, extrusion, material reflection, shadow, glow, metallic finish, embossing, gradient, grain, paper texture, or lighting effect. Preserve the source's exact contours and typography. Normal antialiasing may occur at boundaries only. This is the flat light-mode master for web and layout placement, with the source palette retained in the positive artwork and genuine alpha in all empty regions.\n\nEXACT APPROVED COPY TO PRESERVE\n\nRender precisely these 1 approved line(s), unchanged from the first reference:\nWereldborstvoedingsweek\n\nCOPY RISKS\nExact single unbroken compound Wereldborstvoedingsweek. Do not split by an inserted space or hyphen, and do not substitute Landelijke.\n\n# Active generation contract — v4.0.0\n\nThis is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.\n\nRead the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.\n\n## D — active design rules\n\n### D-01\n\nFORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.\n\n### D-02\n\nCOLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.\n\n### D-03\n\nONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.\n\n### D-04\n\nMEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.\n\n### D-05\n\nPURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.\n\n### D-06\n\nCONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.\n\n### D-07\n\nREADABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.\n\n### D-08\n\nINTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.\n\n### D-09\n\nCONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.\n\n### D-10\n\nNUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.\n\n### D-11\n\nOPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.\n\n### D-12\n\nRESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.\n\n### D-13\n\nCOHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.\n\n### D-14\n\nRADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.\n\n### D-15\n\nPURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.\n\n### D-16\n\nAUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.\n\n### D-17\n\nLETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.\n\n## W — active working principles\n\n### W-01\n\nEach candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.\n\n### W-02\n\nSolve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.\n\n### W-03\n\nLet the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.\n\n### W-04\n\nSeek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.\n\n### W-05\n\nSeek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.\n\n### W-06\n\nMake thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.\n\n### W-07\n\nDesign for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.\n\n### W-08\n\nChoose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.\n\n### W-09\n\nRequire particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.\n\n### W-10\n\nGive each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.\n\n### W-11\n\nSolve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.\n\n### W-12\n\nReduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.\n\n### W-13\n\nEstablish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.\n\n### W-14\n\nMake the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.\n\n### W-15\n\nUse reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.\n\n### W-16\n\nSeek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.\n\n### W-17\n\nDescribe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.\n\n### W-18\n\nConsider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.\n\n### W-19\n\nPreserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.\n\n### W-20\n\nPut communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.\n\n## C — active control questions\n\n### C-01\n\nWhich observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.\n\n### C-02\n\nCan this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?\n\n### C-03\n\nWhat actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?\n\n### C-04\n\nDid simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?\n\n### C-05\n\nDoes one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?\n\n### C-06\n\nWhat dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?\n\n## I — full curriculum of methods and examples\n\n### I-01 — Peter Behrens\n\nCurriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.\n\n### I-02 — A.M. Cassandre\n\nCurriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.\n\n### I-03 — Paul Rand\n\nCurriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.\n\n### I-04 — Saul Bass\n\nCurriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.\n\n### I-05 — Raymond Loewy\n\nCurriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.\n\n### I-06 — Milton Glaser\n\nCurriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.\n\n### I-07 — Ivan Chermayeff\n\nCurriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.\n\n### I-08 — Tom Geismar\n\nCurriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.\n\n### I-09 — Otl Aicher\n\nCurriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.\n\n### I-10 — Yusaku Kamekura\n\nCurriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.\n\n### I-11 — Alan Fletcher\n\nCurriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.\n\n### I-12 — Herb Lubalin\n\nCurriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.\n\n### I-13 — Walter Landor\n\nCurriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.\n\n### I-14 — Carolyn Davidson\n\nCurriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.\n\n### I-15 — Rob Janoff\n\nCurriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.\n\n### I-16 — Lindon Leader\n\nCurriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.\n\n### I-17 — Paula Scher\n\nCurriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.\n\n### I-18 — Henry Steiner\n\nThe source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.\n\n### I-19 — Michael Bierut\n\nCurriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.\n\n\n\nHISTORICAL REFERENCE MECHANISMS\n\nATTACHED REFERENCE 2: GI19 / dog & fish\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nDirect visual verification\nA dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.\n\nTransferable inspiration\n**When this is useful:** Two subjects share a contour or figure/ground boundary.\n\n**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.\n\n**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?\n\nATTACHED REFERENCE 3: ST44 / COUNTERS\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical description\nThe boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.\n\nUsable formal mechanisms\nMake the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.\n\nFit conditions\nUseful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.\n\nConflicts, risks, and scale or monochrome adaptations\nA forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.\n\nWhat not to copy\nDo not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.\n\nATTACHED REFERENCE 4: ST74 / BRACKETING\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical design description\nLet two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.\n\nUsable mechanisms\nTwo complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.\n\nFit conditions\nUseful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.\n\nConflicts, scale, monochrome, and adaptations\nGeneric ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.\n\nWhat not to copy\nDo not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.\n\nTransparent clear space must be continuous all the way to the outer canvas edges. No faint pale rectangle, edge stroke, vignette, or residual source background should survive around the artwork.\n\nThe final file contains exactly one logo and no explanatory or comparative content. All production instructions stay outside the visible asset.\n",
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release-de-at-dark.json

creative/payloads/logos/release-de-at-dark.json

JSON · 32,833 B

Pokaż treść
{
  "prompt": "OUTPUT STAGE: STANDALONE LOGO\nAPPROVED WORDMARK: Weltstillwoche\n\nCRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK\n\nThe earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.\n\nRELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY\n\nThe owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.\n\nREFERENCE MAP\nfirst image: [APPROVED-DE-AT] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.\nsecond image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.\nthird image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.\nfourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.\nEND REFERENCE MAP\n\nACTUAL IDENTITY LOCK\n\nThe first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.\n\nKeep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.\n\nEXACT LETTERING IS PART OF THE APPROVED IDENTITY\n\nUse only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.\n\nOnly the approved name is visible. Do not print the market key, country, language, mode name, hex value, file name, numbering, annotation, subtitle, slogan, year, offer, percentage, website, registration mark, signature, brandkit title, corporate endorsement, or a reference brand. This call returns a production asset, so its workflow labels remain invisible. A checkerboard, color chip, mode badge, or white rectangle with the logo on it is not part of the logo.\n\nTRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT\n\nThe output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.\n\nPreserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.\n\nThink of the PNG as artwork that can be placed over any destination canvas. When the receiving page is dark, the transparent faces and counters reveal that dark page; when it is light, they reveal the light page. Do not bake either destination into this asset. The mode-specific colors below govern only the opaque artwork. A suggestion of a web canvas color is contextual information for contrast, never permission to render a background.\n\nSINGLE-ASSET COMPOSITION AND DELIVERY\n\nReturn one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.\n\nFINAL INTERNAL COMPARISON\n\nBefore returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.\n\nThen inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.\n\nMODE: DARK TRANSPARENT FLAT LOGO\n\nPreserve the approved flat geometry and replace only its opaque artwork colors. The complete positive mother-and-infant symbol is sRGB #C9A7E1. The entire approved text and both closed-eye crescents are sRGB #F5EEFA. These lighter opaque colors are intended to contrast with a dark website canvas such as #251330. Do not draw that dark canvas, or any other canvas color, inside the PNG. Every original background and negative-space region becomes fully transparent.\n\nDo not invert the topology or fill the faces pale simply because this is dark mode. Both faces reveal the receiving page through alpha; only their two existing eye crescents remain opaque pale lilac. Letter counters reveal the receiving page as well. No depth, bevel, extrusion, grain, metallic effect, shadow, halo, glow, or gradient. This is a clean flat two-color adaptation of the approved actual logo, with every contour and line of text preserved.\n\nEXACT APPROVED COPY TO PRESERVE\n\nRender precisely these 1 approved line(s), unchanged from the first reference:\nWeltstillwoche\n\nCOPY RISKS\nFourteen letters W e l t s t i l l w o c h e. Keep initial capital W, remaining lowercase, i dot, and two lowercase l stems after i.\n\n# Active generation contract — v4.0.0\n\nThis is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.\n\nRead the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.\n\n## D — active design rules\n\n### D-01\n\nFORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.\n\n### D-02\n\nCOLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.\n\n### D-03\n\nONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.\n\n### D-04\n\nMEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.\n\n### D-05\n\nPURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.\n\n### D-06\n\nCONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.\n\n### D-07\n\nREADABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.\n\n### D-08\n\nINTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.\n\n### D-09\n\nCONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.\n\n### D-10\n\nNUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.\n\n### D-11\n\nOPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.\n\n### D-12\n\nRESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.\n\n### D-13\n\nCOHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.\n\n### D-14\n\nRADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.\n\n### D-15\n\nPURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.\n\n### D-16\n\nAUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.\n\n### D-17\n\nLETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.\n\n## W — active working principles\n\n### W-01\n\nEach candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.\n\n### W-02\n\nSolve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.\n\n### W-03\n\nLet the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.\n\n### W-04\n\nSeek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.\n\n### W-05\n\nSeek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.\n\n### W-06\n\nMake thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.\n\n### W-07\n\nDesign for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.\n\n### W-08\n\nChoose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.\n\n### W-09\n\nRequire particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.\n\n### W-10\n\nGive each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.\n\n### W-11\n\nSolve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.\n\n### W-12\n\nReduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.\n\n### W-13\n\nEstablish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.\n\n### W-14\n\nMake the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.\n\n### W-15\n\nUse reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.\n\n### W-16\n\nSeek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.\n\n### W-17\n\nDescribe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.\n\n### W-18\n\nConsider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.\n\n### W-19\n\nPreserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.\n\n### W-20\n\nPut communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.\n\n## C — active control questions\n\n### C-01\n\nWhich observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.\n\n### C-02\n\nCan this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?\n\n### C-03\n\nWhat actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?\n\n### C-04\n\nDid simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?\n\n### C-05\n\nDoes one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?\n\n### C-06\n\nWhat dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?\n\n## I — full curriculum of methods and examples\n\n### I-01 — Peter Behrens\n\nCurriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.\n\n### I-02 — A.M. Cassandre\n\nCurriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.\n\n### I-03 — Paul Rand\n\nCurriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.\n\n### I-04 — Saul Bass\n\nCurriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.\n\n### I-05 — Raymond Loewy\n\nCurriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.\n\n### I-06 — Milton Glaser\n\nCurriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.\n\n### I-07 — Ivan Chermayeff\n\nCurriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.\n\n### I-08 — Tom Geismar\n\nCurriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.\n\n### I-09 — Otl Aicher\n\nCurriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.\n\n### I-10 — Yusaku Kamekura\n\nCurriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.\n\n### I-11 — Alan Fletcher\n\nCurriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.\n\n### I-12 — Herb Lubalin\n\nCurriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.\n\n### I-13 — Walter Landor\n\nCurriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.\n\n### I-14 — Carolyn Davidson\n\nCurriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.\n\n### I-15 — Rob Janoff\n\nCurriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.\n\n### I-16 — Lindon Leader\n\nCurriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.\n\n### I-17 — Paula Scher\n\nCurriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.\n\n### I-18 — Henry Steiner\n\nThe source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.\n\n### I-19 — Michael Bierut\n\nCurriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.\n\n\n\nHISTORICAL REFERENCE MECHANISMS\n\nATTACHED REFERENCE 2: GI19 / dog & fish\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nDirect visual verification\nA dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.\n\nTransferable inspiration\n**When this is useful:** Two subjects share a contour or figure/ground boundary.\n\n**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.\n\n**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?\n\nATTACHED REFERENCE 3: ST44 / COUNTERS\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical description\nThe boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.\n\nUsable formal mechanisms\nMake the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.\n\nFit conditions\nUseful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.\n\nConflicts, risks, and scale or monochrome adaptations\nA forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.\n\nWhat not to copy\nDo not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.\n\nATTACHED REFERENCE 4: ST74 / BRACKETING\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical design description\nLet two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.\n\nUsable mechanisms\nTwo complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.\n\nFit conditions\nUseful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.\n\nConflicts, scale, monochrome, and adaptations\nGeneric ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.\n\nWhat not to copy\nDo not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.\n\nPreserve the baseline of every approved text line. A physical-looking letter may have a beveled face, but its front silhouette still follows the selected humanist sans design. No letter tilts independently or moves out of alignment.\n",
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release-de-at-full-3d.json

creative/payloads/logos/release-de-at-full-3d.json

JSON · 32,922 B

Pokaż treść
{
  "prompt": "OUTPUT STAGE: STANDALONE LOGO\nAPPROVED WORDMARK: Weltstillwoche\n\nRELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY\n\nThe owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.\n\nREFERENCE MAP\nfirst image: [APPROVED-DE-AT] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.\nsecond image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.\nthird image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.\nfourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.\nEND REFERENCE MAP\n\nACTUAL IDENTITY LOCK\n\nThe first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.\n\nKeep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.\n\nEXACT LETTERING IS PART OF THE APPROVED IDENTITY\n\nUse only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.\n\nOnly the approved name is visible. Do not print the market key, country, language, mode name, hex value, file name, numbering, annotation, subtitle, slogan, year, offer, percentage, website, registration mark, signature, brandkit title, corporate endorsement, or a reference brand. This call returns a production asset, so its workflow labels remain invisible. A checkerboard, color chip, mode badge, or white rectangle with the logo on it is not part of the logo.\n\nTRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT\n\nThe output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.\n\nPreserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.\n\nThink of the PNG as artwork that can be placed over any destination canvas. When the receiving page is dark, the transparent faces and counters reveal that dark page; when it is light, they reveal the light page. Do not bake either destination into this asset. The mode-specific colors below govern only the opaque artwork. A suggestion of a web canvas color is contextual information for contrast, never permission to render a background.\n\nSINGLE-ASSET COMPOSITION AND DELIVERY\n\nReturn one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.\n\nFINAL INTERNAL COMPARISON\n\nBefore returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.\n\nThen inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.\n\nMODE: FULL 3D TRANSPARENT SCULPTURAL LOGO\n\nTransform the positive shapes of the approved logo into a substantial satin violet porcelain-like sculptural object while preserving its precise frontal identity and spelling. Use an orthographic frontal camera so the name remains easy to read and the approved proportions stay recognizable. Extrude the symbol and letters to a clear depth approximately eight percent of the symbol's height, with softly rounded bevels, visible side faces, and controlled occlusion. The result must visibly have depth, not merely a flat purple graphic with a drop shadow.\n\nThe symbol's front material is based on #8A5AA5 violet, with realistic lighter highlights and darker purple side shading from a soft upper-left studio light. The wordmark becomes coherent raised sculptural deep-plum lettering based on #4F2873, with the same lettering shapes and exact approved lines. Give the typography its own readable dimensional bevels without making counters close or letters join. Both existing small eye crescents remain deep-plum opaque inlay-like sculptural details in their original locations.\n\nAll faces, neck openings, infant openings, letter counters, spaces, and surrounding canvas remain full alpha cutouts through the object. Never fill these spaces with a porcelain plate, skin-colored face, transparent glass, background disc, plaque, connected backing sheet, or floor. Isolated eye marks and isolated letters are permitted floating parts in this logo asset. Use light on the object itself, without a cast shadow on an invented receiving surface. No plinth, stage, jewelry item, extra object, room, border, or photographic scenery.\n\nMaintain the original front-facing symbol silhouette and text arrangement. Extrusion and bevels may introduce physically meaningful side contours, but must not redraw profiles, add eyelashes, erase an accent, obscure an apostrophe, or change the approved words. The material is satin rather than mirror chrome; highlights should clarify the rounding and depth without washing out the lettering. This PNG is a full 3D-style rendered logo asset, not a deliverable mesh or an animated scene.\n\nEXACT APPROVED COPY TO PRESERVE\n\nRender precisely these 1 approved line(s), unchanged from the first reference:\nWeltstillwoche\n\nCOPY RISKS\nFourteen letters W e l t s t i l l w o c h e. Keep initial capital W, remaining lowercase, i dot, and two lowercase l stems after i.\n\n# Active generation contract — v4.0.0\n\nThis is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.\n\nRead the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.\n\n## D — active design rules\n\n### D-01\n\nFORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.\n\n### D-02\n\nCOLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.\n\n### D-03\n\nONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.\n\n### D-04\n\nMEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.\n\n### D-05\n\nPURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.\n\n### D-06\n\nCONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.\n\n### D-07\n\nREADABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.\n\n### D-08\n\nINTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.\n\n### D-09\n\nCONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.\n\n### D-10\n\nNUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.\n\n### D-11\n\nOPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.\n\n### D-12\n\nRESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.\n\n### D-13\n\nCOHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.\n\n### D-14\n\nRADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.\n\n### D-15\n\nPURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.\n\n### D-16\n\nAUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.\n\n### D-17\n\nLETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.\n\n## W — active working principles\n\n### W-01\n\nEach candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.\n\n### W-02\n\nSolve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.\n\n### W-03\n\nLet the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.\n\n### W-04\n\nSeek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.\n\n### W-05\n\nSeek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.\n\n### W-06\n\nMake thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.\n\n### W-07\n\nDesign for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.\n\n### W-08\n\nChoose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.\n\n### W-09\n\nRequire particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.\n\n### W-10\n\nGive each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.\n\n### W-11\n\nSolve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.\n\n### W-12\n\nReduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.\n\n### W-13\n\nEstablish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.\n\n### W-14\n\nMake the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.\n\n### W-15\n\nUse reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.\n\n### W-16\n\nSeek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.\n\n### W-17\n\nDescribe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.\n\n### W-18\n\nConsider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.\n\n### W-19\n\nPreserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.\n\n### W-20\n\nPut communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.\n\n## C — active control questions\n\n### C-01\n\nWhich observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.\n\n### C-02\n\nCan this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?\n\n### C-03\n\nWhat actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?\n\n### C-04\n\nDid simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?\n\n### C-05\n\nDoes one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?\n\n### C-06\n\nWhat dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?\n\n## I — full curriculum of methods and examples\n\n### I-01 — Peter Behrens\n\nCurriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.\n\n### I-02 — A.M. Cassandre\n\nCurriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.\n\n### I-03 — Paul Rand\n\nCurriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.\n\n### I-04 — Saul Bass\n\nCurriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.\n\n### I-05 — Raymond Loewy\n\nCurriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.\n\n### I-06 — Milton Glaser\n\nCurriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.\n\n### I-07 — Ivan Chermayeff\n\nCurriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.\n\n### I-08 — Tom Geismar\n\nCurriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.\n\n### I-09 — Otl Aicher\n\nCurriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.\n\n### I-10 — Yusaku Kamekura\n\nCurriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.\n\n### I-11 — Alan Fletcher\n\nCurriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.\n\n### I-12 — Herb Lubalin\n\nCurriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.\n\n### I-13 — Walter Landor\n\nCurriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.\n\n### I-14 — Carolyn Davidson\n\nCurriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.\n\n### I-15 — Rob Janoff\n\nCurriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.\n\n### I-16 — Lindon Leader\n\nCurriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.\n\n### I-17 — Paula Scher\n\nCurriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.\n\n### I-18 — Henry Steiner\n\nThe source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.\n\n### I-19 — Michael Bierut\n\nCurriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.\n\n\n\nHISTORICAL REFERENCE MECHANISMS\n\nATTACHED REFERENCE 2: GI19 / dog & fish\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nDirect visual verification\nA dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.\n\nTransferable inspiration\n**When this is useful:** Two subjects share a contour or figure/ground boundary.\n\n**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.\n\n**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?\n\nATTACHED REFERENCE 3: ST44 / COUNTERS\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical description\nThe boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.\n\nUsable formal mechanisms\nMake the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.\n\nFit conditions\nUseful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.\n\nConflicts, risks, and scale or monochrome adaptations\nA forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.\n\nWhat not to copy\nDo not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.\n\nATTACHED REFERENCE 4: ST74 / BRACKETING\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical design description\nLet two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.\n\nUsable mechanisms\nTwo complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.\n\nFit conditions\nUseful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.\n\nConflicts, scale, monochrome, and adaptations\nGeneric ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.\n\nWhat not to copy\nDo not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.\n",
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release-de-at-light.json

creative/payloads/logos/release-de-at-light.json

JSON · 32,913 B

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{
  "prompt": "OUTPUT STAGE: STANDALONE LOGO\nAPPROVED WORDMARK: Weltstillwoche\n\nRELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY\n\nThe owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.\n\nREFERENCE MAP\nfirst image: [APPROVED-DE-AT] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.\nsecond image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.\nthird image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.\nfourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.\nEND REFERENCE MAP\n\nACTUAL IDENTITY LOCK\n\nThe first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.\n\nThe existing emblem remains upright, centered, and undistorted. Do not mirror it, rotate it, crop it, stretch its width, narrow its crown, shorten its lower tip, or change the relative sizes of mother and infant. Keep the two eye crescents in their actual source positions and at their original relative size. The eyes are essential small positive marks located within larger transparent face openings; they must remain present as isolated opaque artwork after background removal. Do not erase them together with the pale negative space.\n\nKeep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.\n\nEXACT LETTERING IS PART OF THE APPROVED IDENTITY\n\nUse only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.\n\nDo not use a serif, script, italic, condensed display font, outline-only letter, monogram, or decorative ligature. Do not thicken adjacent stems until they merge, close e apertures, replace an i dot with an ornament, or let a 3D bevel consume a small letter counter. Do not insert a hyphen into a long compound or turn one approved word into two. Do not remove a repeated word because it looks redundant. Each approved line remains centered and its wording remains unchanged. A different locale's wording is not an acceptable substitute.\n\nOnly the approved name is visible. Do not print the market key, country, language, mode name, hex value, file name, numbering, annotation, subtitle, slogan, year, offer, percentage, website, registration mark, signature, brandkit title, corporate endorsement, or a reference brand. This call returns a production asset, so its workflow labels remain invisible. A checkerboard, color chip, mode badge, or white rectangle with the logo on it is not part of the logo.\n\nTRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT\n\nThe output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.\n\nPreserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.\n\nThink of the PNG as artwork that can be placed over any destination canvas. When the receiving page is dark, the transparent faces and counters reveal that dark page; when it is light, they reveal the light page. Do not bake either destination into this asset. The mode-specific colors below govern only the opaque artwork. A suggestion of a web canvas color is contextual information for contrast, never permission to render a background.\n\nSINGLE-ASSET COMPOSITION AND DELIVERY\n\nReturn one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.\n\nFINAL INTERNAL COMPARISON\n\nBefore returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.\n\nThen inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.\n\nMODE: LIGHT TRANSPARENT FLAT LOGO\n\nRetain the approved flat design. Fill the complete positive mother-and-infant symbol with sRGB #8A5AA5. Fill the entire approved text and both closed-eye crescents with sRGB #4F2873. Keep these colors uniform and opaque. Remove the source background and every pale internal negative shape to full transparency. The light mode means these dark-enough artwork colors are intended for light destination surfaces; it does not mean adding a white or lilac background inside the PNG.\n\nNo depth, bevel, extrusion, material reflection, shadow, glow, metallic finish, embossing, gradient, grain, paper texture, or lighting effect. Preserve the source's exact contours and typography. Normal antialiasing may occur at boundaries only. This is the flat light-mode master for web and layout placement, with the source palette retained in the positive artwork and genuine alpha in all empty regions.\n\nEXACT APPROVED COPY TO PRESERVE\n\nRender precisely these 1 approved line(s), unchanged from the first reference:\nWeltstillwoche\n\nCOPY RISKS\nFourteen letters W e l t s t i l l w o c h e. Keep initial capital W, remaining lowercase, i dot, and two lowercase l stems after i.\n\n# Active generation contract — v4.0.0\n\nThis is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.\n\nRead the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.\n\n## D — active design rules\n\n### D-01\n\nFORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.\n\n### D-02\n\nCOLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.\n\n### D-03\n\nONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.\n\n### D-04\n\nMEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.\n\n### D-05\n\nPURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.\n\n### D-06\n\nCONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.\n\n### D-07\n\nREADABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.\n\n### D-08\n\nINTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.\n\n### D-09\n\nCONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.\n\n### D-10\n\nNUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.\n\n### D-11\n\nOPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.\n\n### D-12\n\nRESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.\n\n### D-13\n\nCOHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.\n\n### D-14\n\nRADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.\n\n### D-15\n\nPURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.\n\n### D-16\n\nAUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.\n\n### D-17\n\nLETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.\n\n## W — active working principles\n\n### W-01\n\nEach candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.\n\n### W-02\n\nSolve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.\n\n### W-03\n\nLet the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.\n\n### W-04\n\nSeek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.\n\n### W-05\n\nSeek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.\n\n### W-06\n\nMake thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.\n\n### W-07\n\nDesign for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.\n\n### W-08\n\nChoose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.\n\n### W-09\n\nRequire particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.\n\n### W-10\n\nGive each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.\n\n### W-11\n\nSolve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.\n\n### W-12\n\nReduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.\n\n### W-13\n\nEstablish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.\n\n### W-14\n\nMake the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.\n\n### W-15\n\nUse reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.\n\n### W-16\n\nSeek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.\n\n### W-17\n\nDescribe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.\n\n### W-18\n\nConsider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.\n\n### W-19\n\nPreserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.\n\n### W-20\n\nPut communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.\n\n## C — active control questions\n\n### C-01\n\nWhich observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.\n\n### C-02\n\nCan this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?\n\n### C-03\n\nWhat actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?\n\n### C-04\n\nDid simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?\n\n### C-05\n\nDoes one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?\n\n### C-06\n\nWhat dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?\n\n## I — full curriculum of methods and examples\n\n### I-01 — Peter Behrens\n\nCurriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.\n\n### I-02 — A.M. Cassandre\n\nCurriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.\n\n### I-03 — Paul Rand\n\nCurriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.\n\n### I-04 — Saul Bass\n\nCurriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.\n\n### I-05 — Raymond Loewy\n\nCurriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.\n\n### I-06 — Milton Glaser\n\nCurriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.\n\n### I-07 — Ivan Chermayeff\n\nCurriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.\n\n### I-08 — Tom Geismar\n\nCurriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.\n\n### I-09 — Otl Aicher\n\nCurriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.\n\n### I-10 — Yusaku Kamekura\n\nCurriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.\n\n### I-11 — Alan Fletcher\n\nCurriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.\n\n### I-12 — Herb Lubalin\n\nCurriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.\n\n### I-13 — Walter Landor\n\nCurriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.\n\n### I-14 — Carolyn Davidson\n\nCurriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.\n\n### I-15 — Rob Janoff\n\nCurriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.\n\n### I-16 — Lindon Leader\n\nCurriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.\n\n### I-17 — Paula Scher\n\nCurriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.\n\n### I-18 — Henry Steiner\n\nThe source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.\n\n### I-19 — Michael Bierut\n\nCurriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.\n\n\n\nHISTORICAL REFERENCE MECHANISMS\n\nATTACHED REFERENCE 2: GI19 / dog & fish\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nDirect visual verification\nA dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.\n\nTransferable inspiration\n**When this is useful:** Two subjects share a contour or figure/ground boundary.\n\n**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.\n\n**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?\n\nATTACHED REFERENCE 3: ST44 / COUNTERS\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical description\nThe boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.\n\nUsable formal mechanisms\nMake the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.\n\nFit conditions\nUseful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.\n\nConflicts, risks, and scale or monochrome adaptations\nA forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.\n\nWhat not to copy\nDo not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.\n\nATTACHED REFERENCE 4: ST74 / BRACKETING\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical design description\nLet two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.\n\nUsable mechanisms\nTwo complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.\n\nFit conditions\nUseful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.\n\nConflicts, scale, monochrome, and adaptations\nGeneric ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.\n\nWhat not to copy\nDo not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.\n\nThe final file contains exactly one logo and no explanatory or comparative content. All production instructions stay outside the visible asset.\n",
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release-es-dark.json

creative/payloads/logos/release-es-dark.json

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{
  "prompt": "OUTPUT STAGE: STANDALONE LOGO\nAPPROVED WORDMARK: Semana Mundial de la Lactancia Materna\n\nCRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK\n\nThe earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.\n\nRELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY\n\nThe owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.\n\nREFERENCE MAP\nfirst image: [APPROVED-ES] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.\nsecond image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.\nthird image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.\nfourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.\nEND REFERENCE MAP\n\nACTUAL IDENTITY LOCK\n\nThe first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.\n\nKeep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.\n\nEXACT LETTERING IS PART OF THE APPROVED IDENTITY\n\nUse only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.\n\nOnly the approved name is visible. Do not print the market key, country, language, mode name, hex value, file name, numbering, annotation, subtitle, slogan, year, offer, percentage, website, registration mark, signature, brandkit title, corporate endorsement, or a reference brand. This call returns a production asset, so its workflow labels remain invisible. A checkerboard, color chip, mode badge, or white rectangle with the logo on it is not part of the logo.\n\nTRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT\n\nThe output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.\n\nPreserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.\n\nThink of the PNG as artwork that can be placed over any destination canvas. When the receiving page is dark, the transparent faces and counters reveal that dark page; when it is light, they reveal the light page. Do not bake either destination into this asset. The mode-specific colors below govern only the opaque artwork. A suggestion of a web canvas color is contextual information for contrast, never permission to render a background.\n\nSINGLE-ASSET COMPOSITION AND DELIVERY\n\nReturn one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.\n\nFINAL INTERNAL COMPARISON\n\nBefore returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.\n\nThen inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.\n\nMODE: DARK TRANSPARENT FLAT LOGO\n\nPreserve the approved flat geometry and replace only its opaque artwork colors. The complete positive mother-and-infant symbol is sRGB #C9A7E1. The entire approved text and both closed-eye crescents are sRGB #F5EEFA. These lighter opaque colors are intended to contrast with a dark website canvas such as #251330. Do not draw that dark canvas, or any other canvas color, inside the PNG. Every original background and negative-space region becomes fully transparent.\n\nDo not invert the topology or fill the faces pale simply because this is dark mode. Both faces reveal the receiving page through alpha; only their two existing eye crescents remain opaque pale lilac. Letter counters reveal the receiving page as well. No depth, bevel, extrusion, grain, metallic effect, shadow, halo, glow, or gradient. This is a clean flat two-color adaptation of the approved actual logo, with every contour and line of text preserved.\n\nEXACT APPROVED COPY TO PRESERVE\n\nRender precisely these 2 approved line(s), unchanged from the first reference:\nSemana Mundial\nde la Lactancia Materna\n\nCOPY RISKS\nKeep lowercase de la, exact Lactancia, and feminine Materna. Do not substitute Portuguese Aleitamento or masculine Materno.\n\n# Active generation contract — v4.0.0\n\nThis is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.\n\nRead the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.\n\n## D — active design rules\n\n### D-01\n\nFORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.\n\n### D-02\n\nCOLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.\n\n### D-03\n\nONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.\n\n### D-04\n\nMEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.\n\n### D-05\n\nPURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.\n\n### D-06\n\nCONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.\n\n### D-07\n\nREADABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.\n\n### D-08\n\nINTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.\n\n### D-09\n\nCONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.\n\n### D-10\n\nNUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.\n\n### D-11\n\nOPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.\n\n### D-12\n\nRESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.\n\n### D-13\n\nCOHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.\n\n### D-14\n\nRADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.\n\n### D-15\n\nPURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.\n\n### D-16\n\nAUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.\n\n### D-17\n\nLETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.\n\n## W — active working principles\n\n### W-01\n\nEach candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.\n\n### W-02\n\nSolve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.\n\n### W-03\n\nLet the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.\n\n### W-04\n\nSeek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.\n\n### W-05\n\nSeek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.\n\n### W-06\n\nMake thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.\n\n### W-07\n\nDesign for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.\n\n### W-08\n\nChoose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.\n\n### W-09\n\nRequire particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.\n\n### W-10\n\nGive each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.\n\n### W-11\n\nSolve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.\n\n### W-12\n\nReduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.\n\n### W-13\n\nEstablish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.\n\n### W-14\n\nMake the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.\n\n### W-15\n\nUse reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.\n\n### W-16\n\nSeek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.\n\n### W-17\n\nDescribe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.\n\n### W-18\n\nConsider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.\n\n### W-19\n\nPreserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.\n\n### W-20\n\nPut communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.\n\n## C — active control questions\n\n### C-01\n\nWhich observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.\n\n### C-02\n\nCan this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?\n\n### C-03\n\nWhat actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?\n\n### C-04\n\nDid simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?\n\n### C-05\n\nDoes one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?\n\n### C-06\n\nWhat dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?\n\n## I — full curriculum of methods and examples\n\n### I-01 — Peter Behrens\n\nCurriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.\n\n### I-02 — A.M. Cassandre\n\nCurriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.\n\n### I-03 — Paul Rand\n\nCurriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.\n\n### I-04 — Saul Bass\n\nCurriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.\n\n### I-05 — Raymond Loewy\n\nCurriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.\n\n### I-06 — Milton Glaser\n\nCurriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.\n\n### I-07 — Ivan Chermayeff\n\nCurriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.\n\n### I-08 — Tom Geismar\n\nCurriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.\n\n### I-09 — Otl Aicher\n\nCurriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.\n\n### I-10 — Yusaku Kamekura\n\nCurriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.\n\n### I-11 — Alan Fletcher\n\nCurriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.\n\n### I-12 — Herb Lubalin\n\nCurriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.\n\n### I-13 — Walter Landor\n\nCurriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.\n\n### I-14 — Carolyn Davidson\n\nCurriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.\n\n### I-15 — Rob Janoff\n\nCurriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.\n\n### I-16 — Lindon Leader\n\nCurriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.\n\n### I-17 — Paula Scher\n\nCurriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.\n\n### I-18 — Henry Steiner\n\nThe source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.\n\n### I-19 — Michael Bierut\n\nCurriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.\n\n\n\nHISTORICAL REFERENCE MECHANISMS\n\nATTACHED REFERENCE 2: GI19 / dog & fish\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nDirect visual verification\nA dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.\n\nTransferable inspiration\n**When this is useful:** Two subjects share a contour or figure/ground boundary.\n\n**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.\n\n**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?\n\nATTACHED REFERENCE 3: ST44 / COUNTERS\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical description\nThe boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.\n\nUsable formal mechanisms\nMake the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.\n\nFit conditions\nUseful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.\n\nConflicts, risks, and scale or monochrome adaptations\nA forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.\n\nWhat not to copy\nDo not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.\n\nATTACHED REFERENCE 4: ST74 / BRACKETING\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical design description\nLet two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.\n\nUsable mechanisms\nTwo complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.\n\nFit conditions\nUseful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.\n\nConflicts, scale, monochrome, and adaptations\nGeneric ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.\n\nWhat not to copy\nDo not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.\n\nPreserve the baseline of every approved text line. A physical-looking letter may have a beveled face, but its front silhouette still follows the selected humanist sans design. No letter tilts independently or moves out of alignment.\n",
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release-es-full-3d.json

creative/payloads/logos/release-es-full-3d.json

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{
  "prompt": "OUTPUT STAGE: STANDALONE LOGO\nAPPROVED WORDMARK: Semana Mundial de la Lactancia Materna\n\nCRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK\n\nThe earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.\n\nRELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY\n\nThe owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.\n\nREFERENCE MAP\nfirst image: [APPROVED-ES] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.\nsecond image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.\nthird image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.\nfourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.\nEND REFERENCE MAP\n\nACTUAL IDENTITY LOCK\n\nThe first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.\n\nKeep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.\n\nEXACT LETTERING IS PART OF THE APPROVED IDENTITY\n\nUse only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.\n\nTRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT\n\nThe output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.\n\nPreserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.\n\nSINGLE-ASSET COMPOSITION AND DELIVERY\n\nReturn one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.\n\nFINAL INTERNAL COMPARISON\n\nBefore returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.\n\nThen inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.\n\nMODE: FULL 3D TRANSPARENT SCULPTURAL LOGO\n\nTransform the positive shapes of the approved logo into a substantial satin violet porcelain-like sculptural object while preserving its precise frontal identity and spelling. Use an orthographic frontal camera so the name remains easy to read and the approved proportions stay recognizable. Extrude the symbol and letters to a clear depth approximately eight percent of the symbol's height, with softly rounded bevels, visible side faces, and controlled occlusion. The result must visibly have depth, not merely a flat purple graphic with a drop shadow.\n\nThe symbol's front material is based on #8A5AA5 violet, with realistic lighter highlights and darker purple side shading from a soft upper-left studio light. The wordmark becomes coherent raised sculptural deep-plum lettering based on #4F2873, with the same lettering shapes and exact approved lines. Give the typography its own readable dimensional bevels without making counters close or letters join. Both existing small eye crescents remain deep-plum opaque inlay-like sculptural details in their original locations.\n\nAll faces, neck openings, infant openings, letter counters, spaces, and surrounding canvas remain full alpha cutouts through the object. Never fill these spaces with a porcelain plate, skin-colored face, transparent glass, background disc, plaque, connected backing sheet, or floor. Isolated eye marks and isolated letters are permitted floating parts in this logo asset. Use light on the object itself, without a cast shadow on an invented receiving surface. No plinth, stage, jewelry item, extra object, room, border, or photographic scenery.\n\nMaintain the original front-facing symbol silhouette and text arrangement. Extrusion and bevels may introduce physically meaningful side contours, but must not redraw profiles, add eyelashes, erase an accent, obscure an apostrophe, or change the approved words. The material is satin rather than mirror chrome; highlights should clarify the rounding and depth without washing out the lettering. This PNG is a full 3D-style rendered logo asset, not a deliverable mesh or an animated scene.\n\nEXACT APPROVED COPY TO PRESERVE\n\nRender precisely these 2 approved line(s), unchanged from the first reference:\nSemana Mundial\nde la Lactancia Materna\n\nCOPY RISKS\nKeep lowercase de la, exact Lactancia, and feminine Materna. Do not substitute Portuguese Aleitamento or masculine Materno.\n\n# Active generation contract — v4.0.0\n\nThis is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.\n\nRead the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.\n\n## D — active design rules\n\n### D-01\n\nFORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.\n\n### D-02\n\nCOLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.\n\n### D-03\n\nONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.\n\n### D-04\n\nMEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.\n\n### D-05\n\nPURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.\n\n### D-06\n\nCONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.\n\n### D-07\n\nREADABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.\n\n### D-08\n\nINTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.\n\n### D-09\n\nCONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.\n\n### D-10\n\nNUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.\n\n### D-11\n\nOPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.\n\n### D-12\n\nRESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.\n\n### D-13\n\nCOHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.\n\n### D-14\n\nRADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.\n\n### D-15\n\nPURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.\n\n### D-16\n\nAUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.\n\n### D-17\n\nLETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.\n\n## W — active working principles\n\n### W-01\n\nEach candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.\n\n### W-02\n\nSolve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.\n\n### W-03\n\nLet the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.\n\n### W-04\n\nSeek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.\n\n### W-05\n\nSeek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.\n\n### W-06\n\nMake thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.\n\n### W-07\n\nDesign for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.\n\n### W-08\n\nChoose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.\n\n### W-09\n\nRequire particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.\n\n### W-10\n\nGive each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.\n\n### W-11\n\nSolve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.\n\n### W-12\n\nReduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.\n\n### W-13\n\nEstablish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.\n\n### W-14\n\nMake the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.\n\n### W-15\n\nUse reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.\n\n### W-16\n\nSeek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.\n\n### W-17\n\nDescribe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.\n\n### W-18\n\nConsider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.\n\n### W-19\n\nPreserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.\n\n### W-20\n\nPut communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.\n\n## C — active control questions\n\n### C-01\n\nWhich observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.\n\n### C-02\n\nCan this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?\n\n### C-03\n\nWhat actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?\n\n### C-04\n\nDid simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?\n\n### C-05\n\nDoes one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?\n\n### C-06\n\nWhat dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?\n\n## I — full curriculum of methods and examples\n\n### I-01 — Peter Behrens\n\nCurriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.\n\n### I-02 — A.M. Cassandre\n\nCurriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.\n\n### I-03 — Paul Rand\n\nCurriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.\n\n### I-04 — Saul Bass\n\nCurriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.\n\n### I-05 — Raymond Loewy\n\nCurriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.\n\n### I-06 — Milton Glaser\n\nCurriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.\n\n### I-07 — Ivan Chermayeff\n\nCurriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.\n\n### I-08 — Tom Geismar\n\nCurriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.\n\n### I-09 — Otl Aicher\n\nCurriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.\n\n### I-10 — Yusaku Kamekura\n\nCurriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.\n\n### I-11 — Alan Fletcher\n\nCurriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.\n\n### I-12 — Herb Lubalin\n\nCurriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.\n\n### I-13 — Walter Landor\n\nCurriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.\n\n### I-14 — Carolyn Davidson\n\nCurriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.\n\n### I-15 — Rob Janoff\n\nCurriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.\n\n### I-16 — Lindon Leader\n\nCurriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.\n\n### I-17 — Paula Scher\n\nCurriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.\n\n### I-18 — Henry Steiner\n\nThe source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.\n\n### I-19 — Michael Bierut\n\nCurriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.\n\n\n\nHISTORICAL REFERENCE MECHANISMS\n\nATTACHED REFERENCE 2: GI19 / dog & fish\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nDirect visual verification\nA dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.\n\nTransferable inspiration\n**When this is useful:** Two subjects share a contour or figure/ground boundary.\n\n**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.\n\n**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?\n\nATTACHED REFERENCE 3: ST44 / COUNTERS\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical description\nThe boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.\n\nUsable formal mechanisms\nMake the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.\n\nFit conditions\nUseful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.\n\nConflicts, risks, and scale or monochrome adaptations\nA forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.\n\nWhat not to copy\nDo not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.\n\nATTACHED REFERENCE 4: ST74 / BRACKETING\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical design description\nLet two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.\n\nUsable mechanisms\nTwo complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.\n\nFit conditions\nUseful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.\n\nConflicts, scale, monochrome, and adaptations\nGeneric ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.\n\nWhat not to copy\nDo not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.\n",
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release-es-light.json

creative/payloads/logos/release-es-light.json

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{
  "prompt": "OUTPUT STAGE: STANDALONE LOGO\nAPPROVED WORDMARK: Semana Mundial de la Lactancia Materna\n\nCRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK\n\nThe earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.\n\nRELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY\n\nThe owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.\n\nREFERENCE MAP\nfirst image: [APPROVED-ES] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.\nsecond image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.\nthird image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.\nfourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.\nEND REFERENCE MAP\n\nACTUAL IDENTITY LOCK\n\nThe first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.\n\nKeep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.\n\nEXACT LETTERING IS PART OF THE APPROVED IDENTITY\n\nUse only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.\n\nOnly the approved name is visible. Do not print the market key, country, language, mode name, hex value, file name, numbering, annotation, subtitle, slogan, year, offer, percentage, website, registration mark, signature, brandkit title, corporate endorsement, or a reference brand. This call returns a production asset, so its workflow labels remain invisible. A checkerboard, color chip, mode badge, or white rectangle with the logo on it is not part of the logo.\n\nTRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT\n\nThe output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.\n\nPreserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.\n\nThink of the PNG as artwork that can be placed over any destination canvas. When the receiving page is dark, the transparent faces and counters reveal that dark page; when it is light, they reveal the light page. Do not bake either destination into this asset. The mode-specific colors below govern only the opaque artwork. A suggestion of a web canvas color is contextual information for contrast, never permission to render a background.\n\nSINGLE-ASSET COMPOSITION AND DELIVERY\n\nReturn one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.\n\nFINAL INTERNAL COMPARISON\n\nBefore returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.\n\nThen inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.\n\nMODE: LIGHT TRANSPARENT FLAT LOGO\n\nRetain the approved flat design. Fill the complete positive mother-and-infant symbol with sRGB #8A5AA5. Fill the entire approved text and both closed-eye crescents with sRGB #4F2873. Keep these colors uniform and opaque. Remove the source background and every pale internal negative shape to full transparency. The light mode means these dark-enough artwork colors are intended for light destination surfaces; it does not mean adding a white or lilac background inside the PNG.\n\nNo depth, bevel, extrusion, material reflection, shadow, glow, metallic finish, embossing, gradient, grain, paper texture, or lighting effect. Preserve the source's exact contours and typography. Normal antialiasing may occur at boundaries only. This is the flat light-mode master for web and layout placement, with the source palette retained in the positive artwork and genuine alpha in all empty regions.\n\nEXACT APPROVED COPY TO PRESERVE\n\nRender precisely these 2 approved line(s), unchanged from the first reference:\nSemana Mundial\nde la Lactancia Materna\n\nCOPY RISKS\nKeep lowercase de la, exact Lactancia, and feminine Materna. Do not substitute Portuguese Aleitamento or masculine Materno.\n\n# Active generation contract — v4.0.0\n\nThis is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.\n\nRead the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.\n\n## D — active design rules\n\n### D-01\n\nFORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.\n\n### D-02\n\nCOLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.\n\n### D-03\n\nONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.\n\n### D-04\n\nMEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.\n\n### D-05\n\nPURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.\n\n### D-06\n\nCONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.\n\n### D-07\n\nREADABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.\n\n### D-08\n\nINTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.\n\n### D-09\n\nCONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.\n\n### D-10\n\nNUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.\n\n### D-11\n\nOPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.\n\n### D-12\n\nRESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.\n\n### D-13\n\nCOHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.\n\n### D-14\n\nRADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.\n\n### D-15\n\nPURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.\n\n### D-16\n\nAUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.\n\n### D-17\n\nLETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.\n\n## W — active working principles\n\n### W-01\n\nEach candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.\n\n### W-02\n\nSolve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.\n\n### W-03\n\nLet the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.\n\n### W-04\n\nSeek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.\n\n### W-05\n\nSeek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.\n\n### W-06\n\nMake thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.\n\n### W-07\n\nDesign for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.\n\n### W-08\n\nChoose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.\n\n### W-09\n\nRequire particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.\n\n### W-10\n\nGive each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.\n\n### W-11\n\nSolve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.\n\n### W-12\n\nReduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.\n\n### W-13\n\nEstablish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.\n\n### W-14\n\nMake the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.\n\n### W-15\n\nUse reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.\n\n### W-16\n\nSeek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.\n\n### W-17\n\nDescribe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.\n\n### W-18\n\nConsider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.\n\n### W-19\n\nPreserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.\n\n### W-20\n\nPut communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.\n\n## C — active control questions\n\n### C-01\n\nWhich observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.\n\n### C-02\n\nCan this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?\n\n### C-03\n\nWhat actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?\n\n### C-04\n\nDid simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?\n\n### C-05\n\nDoes one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?\n\n### C-06\n\nWhat dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?\n\n## I — full curriculum of methods and examples\n\n### I-01 — Peter Behrens\n\nCurriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.\n\n### I-02 — A.M. Cassandre\n\nCurriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.\n\n### I-03 — Paul Rand\n\nCurriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.\n\n### I-04 — Saul Bass\n\nCurriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.\n\n### I-05 — Raymond Loewy\n\nCurriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.\n\n### I-06 — Milton Glaser\n\nCurriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.\n\n### I-07 — Ivan Chermayeff\n\nCurriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.\n\n### I-08 — Tom Geismar\n\nCurriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.\n\n### I-09 — Otl Aicher\n\nCurriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.\n\n### I-10 — Yusaku Kamekura\n\nCurriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.\n\n### I-11 — Alan Fletcher\n\nCurriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.\n\n### I-12 — Herb Lubalin\n\nCurriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.\n\n### I-13 — Walter Landor\n\nCurriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.\n\n### I-14 — Carolyn Davidson\n\nCurriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.\n\n### I-15 — Rob Janoff\n\nCurriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.\n\n### I-16 — Lindon Leader\n\nCurriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.\n\n### I-17 — Paula Scher\n\nCurriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.\n\n### I-18 — Henry Steiner\n\nThe source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.\n\n### I-19 — Michael Bierut\n\nCurriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.\n\n\n\nHISTORICAL REFERENCE MECHANISMS\n\nATTACHED REFERENCE 2: GI19 / dog & fish\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nDirect visual verification\nA dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.\n\nTransferable inspiration\n**When this is useful:** Two subjects share a contour or figure/ground boundary.\n\n**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.\n\n**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?\n\nATTACHED REFERENCE 3: ST44 / COUNTERS\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical description\nThe boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.\n\nUsable formal mechanisms\nMake the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.\n\nFit conditions\nUseful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.\n\nConflicts, risks, and scale or monochrome adaptations\nA forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.\n\nWhat not to copy\nDo not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.\n\nATTACHED REFERENCE 4: ST74 / BRACKETING\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical design description\nLet two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.\n\nUsable mechanisms\nTwo complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.\n\nFit conditions\nUseful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.\n\nConflicts, scale, monochrome, and adaptations\nGeneric ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.\n\nWhat not to copy\nDo not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.\n\nPreserve the baseline of every approved text line. A physical-looking letter may have a beveled face, but its front silhouette still follows the selected humanist sans design. No letter tilts independently or moves out of alignment.\n",
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release-eu-dark.json

creative/payloads/logos/release-eu-dark.json

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{
  "prompt": "OUTPUT STAGE: STANDALONE LOGO\nAPPROVED WORDMARK: International Breastfeeding Week\n\nCRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK\n\nThe earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.\n\nRELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY\n\nThe owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.\n\nREFERENCE MAP\nfirst image: [APPROVED-EU] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.\nsecond image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.\nthird image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.\nfourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.\nEND REFERENCE MAP\n\nACTUAL IDENTITY LOCK\n\nThe first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.\n\nKeep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.\n\nEXACT LETTERING IS PART OF THE APPROVED IDENTITY\n\nUse only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.\n\nOnly the approved name is visible. Do not print the market key, country, language, mode name, hex value, file name, numbering, annotation, subtitle, slogan, year, offer, percentage, website, registration mark, signature, brandkit title, corporate endorsement, or a reference brand. This call returns a production asset, so its workflow labels remain invisible. A checkerboard, color chip, mode badge, or white rectangle with the logo on it is not part of the logo.\n\nTRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT\n\nThe output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.\n\nPreserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.\n\nThink of the PNG as artwork that can be placed over any destination canvas. When the receiving page is dark, the transparent faces and counters reveal that dark page; when it is light, they reveal the light page. Do not bake either destination into this asset. The mode-specific colors below govern only the opaque artwork. A suggestion of a web canvas color is contextual information for contrast, never permission to render a background.\n\nSINGLE-ASSET COMPOSITION AND DELIVERY\n\nReturn one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.\n\nFINAL INTERNAL COMPARISON\n\nBefore returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.\n\nThen inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.\n\nMODE: DARK TRANSPARENT FLAT LOGO\n\nPreserve the approved flat geometry and replace only its opaque artwork colors. The complete positive mother-and-infant symbol is sRGB #C9A7E1. The entire approved text and both closed-eye crescents are sRGB #F5EEFA. These lighter opaque colors are intended to contrast with a dark website canvas such as #251330. Do not draw that dark canvas, or any other canvas color, inside the PNG. Every original background and negative-space region becomes fully transparent.\n\nDo not invert the topology or fill the faces pale simply because this is dark mode. Both faces reveal the receiving page through alpha; only their two existing eye crescents remain opaque pale lilac. Letter counters reveal the receiving page as well. No depth, bevel, extrusion, grain, metallic effect, shadow, halo, glow, or gradient. This is a clean flat two-color adaptation of the approved actual logo, with every contour and line of text preserved.\n\nEXACT APPROVED COPY TO PRESERVE\n\nRender precisely these 2 approved line(s), unchanged from the first reference:\nInternational\nBreastfeeding Week\n\nCOPY RISKS\nBreastfeeding is one exact word; keep International intact, and do not use Babywearing here.\n\n# Active generation contract — v4.0.0\n\nThis is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.\n\nRead the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.\n\n## D — active design rules\n\n### D-01\n\nFORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.\n\n### D-02\n\nCOLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.\n\n### D-03\n\nONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.\n\n### D-04\n\nMEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.\n\n### D-05\n\nPURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.\n\n### D-06\n\nCONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.\n\n### D-07\n\nREADABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.\n\n### D-08\n\nINTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.\n\n### D-09\n\nCONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.\n\n### D-10\n\nNUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.\n\n### D-11\n\nOPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.\n\n### D-12\n\nRESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.\n\n### D-13\n\nCOHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.\n\n### D-14\n\nRADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.\n\n### D-15\n\nPURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.\n\n### D-16\n\nAUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.\n\n### D-17\n\nLETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.\n\n## W — active working principles\n\n### W-01\n\nEach candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.\n\n### W-02\n\nSolve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.\n\n### W-03\n\nLet the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.\n\n### W-04\n\nSeek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.\n\n### W-05\n\nSeek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.\n\n### W-06\n\nMake thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.\n\n### W-07\n\nDesign for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.\n\n### W-08\n\nChoose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.\n\n### W-09\n\nRequire particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.\n\n### W-10\n\nGive each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.\n\n### W-11\n\nSolve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.\n\n### W-12\n\nReduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.\n\n### W-13\n\nEstablish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.\n\n### W-14\n\nMake the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.\n\n### W-15\n\nUse reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.\n\n### W-16\n\nSeek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.\n\n### W-17\n\nDescribe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.\n\n### W-18\n\nConsider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.\n\n### W-19\n\nPreserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.\n\n### W-20\n\nPut communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.\n\n## C — active control questions\n\n### C-01\n\nWhich observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.\n\n### C-02\n\nCan this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?\n\n### C-03\n\nWhat actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?\n\n### C-04\n\nDid simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?\n\n### C-05\n\nDoes one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?\n\n### C-06\n\nWhat dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?\n\n## I — full curriculum of methods and examples\n\n### I-01 — Peter Behrens\n\nCurriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.\n\n### I-02 — A.M. Cassandre\n\nCurriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.\n\n### I-03 — Paul Rand\n\nCurriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.\n\n### I-04 — Saul Bass\n\nCurriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.\n\n### I-05 — Raymond Loewy\n\nCurriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.\n\n### I-06 — Milton Glaser\n\nCurriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.\n\n### I-07 — Ivan Chermayeff\n\nCurriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.\n\n### I-08 — Tom Geismar\n\nCurriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.\n\n### I-09 — Otl Aicher\n\nCurriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.\n\n### I-10 — Yusaku Kamekura\n\nCurriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.\n\n### I-11 — Alan Fletcher\n\nCurriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.\n\n### I-12 — Herb Lubalin\n\nCurriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.\n\n### I-13 — Walter Landor\n\nCurriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.\n\n### I-14 — Carolyn Davidson\n\nCurriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.\n\n### I-15 — Rob Janoff\n\nCurriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.\n\n### I-16 — Lindon Leader\n\nCurriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.\n\n### I-17 — Paula Scher\n\nCurriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.\n\n### I-18 — Henry Steiner\n\nThe source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.\n\n### I-19 — Michael Bierut\n\nCurriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.\n\n\n\nHISTORICAL REFERENCE MECHANISMS\n\nATTACHED REFERENCE 2: GI19 / dog & fish\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nDirect visual verification\nA dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.\n\nTransferable inspiration\n**When this is useful:** Two subjects share a contour or figure/ground boundary.\n\n**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.\n\n**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?\n\nATTACHED REFERENCE 3: ST44 / COUNTERS\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical description\nThe boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.\n\nUsable formal mechanisms\nMake the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.\n\nFit conditions\nUseful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.\n\nConflicts, risks, and scale or monochrome adaptations\nA forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.\n\nWhat not to copy\nDo not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.\n\nATTACHED REFERENCE 4: ST74 / BRACKETING\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical design description\nLet two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.\n\nUsable mechanisms\nTwo complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.\n\nFit conditions\nUseful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.\n\nConflicts, scale, monochrome, and adaptations\nGeneric ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.\n\nWhat not to copy\nDo not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.\n\nPreserve the baseline of every approved text line. A physical-looking letter may have a beveled face, but its front silhouette still follows the selected humanist sans design. No letter tilts independently or moves out of alignment.\n",
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release-eu-full-3d.json

creative/payloads/logos/release-eu-full-3d.json

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{
  "prompt": "OUTPUT STAGE: STANDALONE LOGO\nAPPROVED WORDMARK: International Breastfeeding Week\n\nCRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK\n\nThe earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.\n\nRELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY\n\nThe owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.\n\nREFERENCE MAP\nfirst image: [APPROVED-EU] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.\nsecond image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.\nthird image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.\nfourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.\nEND REFERENCE MAP\n\nACTUAL IDENTITY LOCK\n\nThe first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.\n\nKeep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.\n\nEXACT LETTERING IS PART OF THE APPROVED IDENTITY\n\nUse only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.\n\nTRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT\n\nThe output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.\n\nPreserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.\n\nSINGLE-ASSET COMPOSITION AND DELIVERY\n\nReturn one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.\n\nFINAL INTERNAL COMPARISON\n\nBefore returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.\n\nThen inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.\n\nMODE: FULL 3D TRANSPARENT SCULPTURAL LOGO\n\nTransform the positive shapes of the approved logo into a substantial satin violet porcelain-like sculptural object while preserving its precise frontal identity and spelling. Use an orthographic frontal camera so the name remains easy to read and the approved proportions stay recognizable. Extrude the symbol and letters to a clear depth approximately eight percent of the symbol's height, with softly rounded bevels, visible side faces, and controlled occlusion. The result must visibly have depth, not merely a flat purple graphic with a drop shadow.\n\nThe symbol's front material is based on #8A5AA5 violet, with realistic lighter highlights and darker purple side shading from a soft upper-left studio light. The wordmark becomes coherent raised sculptural deep-plum lettering based on #4F2873, with the same lettering shapes and exact approved lines. Give the typography its own readable dimensional bevels without making counters close or letters join. Both existing small eye crescents remain deep-plum opaque inlay-like sculptural details in their original locations.\n\nAll faces, neck openings, infant openings, letter counters, spaces, and surrounding canvas remain full alpha cutouts through the object. Never fill these spaces with a porcelain plate, skin-colored face, transparent glass, background disc, plaque, connected backing sheet, or floor. Isolated eye marks and isolated letters are permitted floating parts in this logo asset. Use light on the object itself, without a cast shadow on an invented receiving surface. No plinth, stage, jewelry item, extra object, room, border, or photographic scenery.\n\nMaintain the original front-facing symbol silhouette and text arrangement. Extrusion and bevels may introduce physically meaningful side contours, but must not redraw profiles, add eyelashes, erase an accent, obscure an apostrophe, or change the approved words. The material is satin rather than mirror chrome; highlights should clarify the rounding and depth without washing out the lettering. This PNG is a full 3D-style rendered logo asset, not a deliverable mesh or an animated scene.\n\nEXACT APPROVED COPY TO PRESERVE\n\nRender precisely these 2 approved line(s), unchanged from the first reference:\nInternational\nBreastfeeding Week\n\nCOPY RISKS\nBreastfeeding is one exact word; keep International intact, and do not use Babywearing here.\n\n# Active generation contract — v4.0.0\n\nThis is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.\n\nRead the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.\n\n## D — active design rules\n\n### D-01\n\nFORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.\n\n### D-02\n\nCOLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.\n\n### D-03\n\nONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.\n\n### D-04\n\nMEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.\n\n### D-05\n\nPURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.\n\n### D-06\n\nCONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.\n\n### D-07\n\nREADABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.\n\n### D-08\n\nINTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.\n\n### D-09\n\nCONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.\n\n### D-10\n\nNUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.\n\n### D-11\n\nOPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.\n\n### D-12\n\nRESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.\n\n### D-13\n\nCOHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.\n\n### D-14\n\nRADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.\n\n### D-15\n\nPURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.\n\n### D-16\n\nAUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.\n\n### D-17\n\nLETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.\n\n## W — active working principles\n\n### W-01\n\nEach candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.\n\n### W-02\n\nSolve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.\n\n### W-03\n\nLet the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.\n\n### W-04\n\nSeek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.\n\n### W-05\n\nSeek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.\n\n### W-06\n\nMake thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.\n\n### W-07\n\nDesign for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.\n\n### W-08\n\nChoose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.\n\n### W-09\n\nRequire particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.\n\n### W-10\n\nGive each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.\n\n### W-11\n\nSolve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.\n\n### W-12\n\nReduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.\n\n### W-13\n\nEstablish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.\n\n### W-14\n\nMake the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.\n\n### W-15\n\nUse reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.\n\n### W-16\n\nSeek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.\n\n### W-17\n\nDescribe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.\n\n### W-18\n\nConsider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.\n\n### W-19\n\nPreserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.\n\n### W-20\n\nPut communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.\n\n## C — active control questions\n\n### C-01\n\nWhich observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.\n\n### C-02\n\nCan this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?\n\n### C-03\n\nWhat actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?\n\n### C-04\n\nDid simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?\n\n### C-05\n\nDoes one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?\n\n### C-06\n\nWhat dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?\n\n## I — full curriculum of methods and examples\n\n### I-01 — Peter Behrens\n\nCurriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.\n\n### I-02 — A.M. Cassandre\n\nCurriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.\n\n### I-03 — Paul Rand\n\nCurriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.\n\n### I-04 — Saul Bass\n\nCurriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.\n\n### I-05 — Raymond Loewy\n\nCurriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.\n\n### I-06 — Milton Glaser\n\nCurriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.\n\n### I-07 — Ivan Chermayeff\n\nCurriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.\n\n### I-08 — Tom Geismar\n\nCurriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.\n\n### I-09 — Otl Aicher\n\nCurriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.\n\n### I-10 — Yusaku Kamekura\n\nCurriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.\n\n### I-11 — Alan Fletcher\n\nCurriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.\n\n### I-12 — Herb Lubalin\n\nCurriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.\n\n### I-13 — Walter Landor\n\nCurriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.\n\n### I-14 — Carolyn Davidson\n\nCurriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.\n\n### I-15 — Rob Janoff\n\nCurriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.\n\n### I-16 — Lindon Leader\n\nCurriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.\n\n### I-17 — Paula Scher\n\nCurriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.\n\n### I-18 — Henry Steiner\n\nThe source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.\n\n### I-19 — Michael Bierut\n\nCurriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.\n\n\n\nHISTORICAL REFERENCE MECHANISMS\n\nATTACHED REFERENCE 2: GI19 / dog & fish\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nDirect visual verification\nA dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.\n\nTransferable inspiration\n**When this is useful:** Two subjects share a contour or figure/ground boundary.\n\n**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.\n\n**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?\n\nATTACHED REFERENCE 3: ST44 / COUNTERS\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical description\nThe boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.\n\nUsable formal mechanisms\nMake the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.\n\nFit conditions\nUseful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.\n\nConflicts, risks, and scale or monochrome adaptations\nA forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.\n\nWhat not to copy\nDo not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.\n\nATTACHED REFERENCE 4: ST74 / BRACKETING\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical design description\nLet two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.\n\nUsable mechanisms\nTwo complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.\n\nFit conditions\nUseful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.\n\nConflicts, scale, monochrome, and adaptations\nGeneric ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.\n\nWhat not to copy\nDo not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.\n",
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release-eu-light.json

creative/payloads/logos/release-eu-light.json

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{
  "prompt": "OUTPUT STAGE: STANDALONE LOGO\nAPPROVED WORDMARK: International Breastfeeding Week\n\nCRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK\n\nThe earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.\n\nRELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY\n\nThe owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.\n\nREFERENCE MAP\nfirst image: [APPROVED-EU] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.\nsecond image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.\nthird image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.\nfourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.\nEND REFERENCE MAP\n\nACTUAL IDENTITY LOCK\n\nThe first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.\n\nKeep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.\n\nEXACT LETTERING IS PART OF THE APPROVED IDENTITY\n\nUse only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.\n\nOnly the approved name is visible. Do not print the market key, country, language, mode name, hex value, file name, numbering, annotation, subtitle, slogan, year, offer, percentage, website, registration mark, signature, brandkit title, corporate endorsement, or a reference brand. This call returns a production asset, so its workflow labels remain invisible. A checkerboard, color chip, mode badge, or white rectangle with the logo on it is not part of the logo.\n\nTRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT\n\nThe output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.\n\nPreserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.\n\nThink of the PNG as artwork that can be placed over any destination canvas. When the receiving page is dark, the transparent faces and counters reveal that dark page; when it is light, they reveal the light page. Do not bake either destination into this asset. The mode-specific colors below govern only the opaque artwork. A suggestion of a web canvas color is contextual information for contrast, never permission to render a background.\n\nSINGLE-ASSET COMPOSITION AND DELIVERY\n\nReturn one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.\n\nFINAL INTERNAL COMPARISON\n\nBefore returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.\n\nThen inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.\n\nMODE: LIGHT TRANSPARENT FLAT LOGO\n\nRetain the approved flat design. Fill the complete positive mother-and-infant symbol with sRGB #8A5AA5. Fill the entire approved text and both closed-eye crescents with sRGB #4F2873. Keep these colors uniform and opaque. Remove the source background and every pale internal negative shape to full transparency. The light mode means these dark-enough artwork colors are intended for light destination surfaces; it does not mean adding a white or lilac background inside the PNG.\n\nNo depth, bevel, extrusion, material reflection, shadow, glow, metallic finish, embossing, gradient, grain, paper texture, or lighting effect. Preserve the source's exact contours and typography. Normal antialiasing may occur at boundaries only. This is the flat light-mode master for web and layout placement, with the source palette retained in the positive artwork and genuine alpha in all empty regions.\n\nEXACT APPROVED COPY TO PRESERVE\n\nRender precisely these 2 approved line(s), unchanged from the first reference:\nInternational\nBreastfeeding Week\n\nCOPY RISKS\nBreastfeeding is one exact word; keep International intact, and do not use Babywearing here.\n\n# Active generation contract — v4.0.0\n\nThis is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.\n\nRead the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.\n\n## D — active design rules\n\n### D-01\n\nFORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.\n\n### D-02\n\nCOLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.\n\n### D-03\n\nONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.\n\n### D-04\n\nMEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.\n\n### D-05\n\nPURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.\n\n### D-06\n\nCONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.\n\n### D-07\n\nREADABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.\n\n### D-08\n\nINTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.\n\n### D-09\n\nCONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.\n\n### D-10\n\nNUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.\n\n### D-11\n\nOPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.\n\n### D-12\n\nRESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.\n\n### D-13\n\nCOHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.\n\n### D-14\n\nRADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.\n\n### D-15\n\nPURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.\n\n### D-16\n\nAUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.\n\n### D-17\n\nLETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.\n\n## W — active working principles\n\n### W-01\n\nEach candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.\n\n### W-02\n\nSolve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.\n\n### W-03\n\nLet the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.\n\n### W-04\n\nSeek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.\n\n### W-05\n\nSeek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.\n\n### W-06\n\nMake thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.\n\n### W-07\n\nDesign for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.\n\n### W-08\n\nChoose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.\n\n### W-09\n\nRequire particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.\n\n### W-10\n\nGive each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.\n\n### W-11\n\nSolve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.\n\n### W-12\n\nReduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.\n\n### W-13\n\nEstablish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.\n\n### W-14\n\nMake the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.\n\n### W-15\n\nUse reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.\n\n### W-16\n\nSeek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.\n\n### W-17\n\nDescribe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.\n\n### W-18\n\nConsider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.\n\n### W-19\n\nPreserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.\n\n### W-20\n\nPut communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.\n\n## C — active control questions\n\n### C-01\n\nWhich observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.\n\n### C-02\n\nCan this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?\n\n### C-03\n\nWhat actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?\n\n### C-04\n\nDid simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?\n\n### C-05\n\nDoes one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?\n\n### C-06\n\nWhat dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?\n\n## I — full curriculum of methods and examples\n\n### I-01 — Peter Behrens\n\nCurriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.\n\n### I-02 — A.M. Cassandre\n\nCurriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.\n\n### I-03 — Paul Rand\n\nCurriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.\n\n### I-04 — Saul Bass\n\nCurriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.\n\n### I-05 — Raymond Loewy\n\nCurriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.\n\n### I-06 — Milton Glaser\n\nCurriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.\n\n### I-07 — Ivan Chermayeff\n\nCurriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.\n\n### I-08 — Tom Geismar\n\nCurriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.\n\n### I-09 — Otl Aicher\n\nCurriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.\n\n### I-10 — Yusaku Kamekura\n\nCurriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.\n\n### I-11 — Alan Fletcher\n\nCurriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.\n\n### I-12 — Herb Lubalin\n\nCurriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.\n\n### I-13 — Walter Landor\n\nCurriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.\n\n### I-14 — Carolyn Davidson\n\nCurriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.\n\n### I-15 — Rob Janoff\n\nCurriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.\n\n### I-16 — Lindon Leader\n\nCurriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.\n\n### I-17 — Paula Scher\n\nCurriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.\n\n### I-18 — Henry Steiner\n\nThe source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.\n\n### I-19 — Michael Bierut\n\nCurriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.\n\n\n\nHISTORICAL REFERENCE MECHANISMS\n\nATTACHED REFERENCE 2: GI19 / dog & fish\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nDirect visual verification\nA dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.\n\nTransferable inspiration\n**When this is useful:** Two subjects share a contour or figure/ground boundary.\n\n**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.\n\n**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?\n\nATTACHED REFERENCE 3: ST44 / COUNTERS\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical description\nThe boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.\n\nUsable formal mechanisms\nMake the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.\n\nFit conditions\nUseful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.\n\nConflicts, risks, and scale or monochrome adaptations\nA forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.\n\nWhat not to copy\nDo not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.\n\nATTACHED REFERENCE 4: ST74 / BRACKETING\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical design description\nLet two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.\n\nUsable mechanisms\nTwo complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.\n\nFit conditions\nUseful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.\n\nConflicts, scale, monochrome, and adaptations\nGeneric ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.\n\nWhat not to copy\nDo not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.\n\nTransparent clear space must be continuous all the way to the outer canvas edges. No faint pale rectangle, edge stroke, vignette, or residual source background should survive around the artwork.\n\nAn empty transparent pixel is not a pale paint sample. Removing the source background includes the enclosed faces and letter holes, not only the outer rectangular canvas.\n",
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release-fr-dark.json

creative/payloads/logos/release-fr-dark.json

JSON · 32,925 B

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{
  "prompt": "OUTPUT STAGE: STANDALONE LOGO\nAPPROVED WORDMARK: Semaine Mondiale de l'Allaitement Maternel\n\nCRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK\n\nThe earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.\n\nRELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY\n\nThe owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.\n\nREFERENCE MAP\nfirst image: [APPROVED-FR] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.\nsecond image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.\nthird image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.\nfourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.\nEND REFERENCE MAP\n\nACTUAL IDENTITY LOCK\n\nThe first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.\n\nKeep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.\n\nEXACT LETTERING IS PART OF THE APPROVED IDENTITY\n\nUse only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.\n\nOnly the approved name is visible. Do not print the market key, country, language, mode name, hex value, file name, numbering, annotation, subtitle, slogan, year, offer, percentage, website, registration mark, signature, brandkit title, corporate endorsement, or a reference brand. This call returns a production asset, so its workflow labels remain invisible. A checkerboard, color chip, mode badge, or white rectangle with the logo on it is not part of the logo.\n\nTRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT\n\nThe output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.\n\nPreserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.\n\nThink of the PNG as artwork that can be placed over any destination canvas. When the receiving page is dark, the transparent faces and counters reveal that dark page; when it is light, they reveal the light page. Do not bake either destination into this asset. The mode-specific colors below govern only the opaque artwork. A suggestion of a web canvas color is contextual information for contrast, never permission to render a background.\n\nSINGLE-ASSET COMPOSITION AND DELIVERY\n\nReturn one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.\n\nFINAL INTERNAL COMPARISON\n\nBefore returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.\n\nThen inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.\n\nMODE: DARK TRANSPARENT FLAT LOGO\n\nPreserve the approved flat geometry and replace only its opaque artwork colors. The complete positive mother-and-infant symbol is sRGB #C9A7E1. The entire approved text and both closed-eye crescents are sRGB #F5EEFA. These lighter opaque colors are intended to contrast with a dark website canvas such as #251330. Do not draw that dark canvas, or any other canvas color, inside the PNG. Every original background and negative-space region becomes fully transparent.\n\nDo not invert the topology or fill the faces pale simply because this is dark mode. Both faces reveal the receiving page through alpha; only their two existing eye crescents remain opaque pale lilac. Letter counters reveal the receiving page as well. No depth, bevel, extrusion, grain, metallic effect, shadow, halo, glow, or gradient. This is a clean flat two-color adaptation of the approved actual logo, with every contour and line of text preserved.\n\nEXACT APPROVED COPY TO PRESERVE\n\nRender precisely these 2 approved line(s), unchanged from the first reference:\nSemaine Mondiale\nde l'Allaitement Maternel\n\nCOPY RISKS\nPreserve uppercase S, M, A, M as supplied and lowercase de l. Keep the apostrophe, Allaitement with double l, and final Maternel. Distinct from shorter sentence-case Belgian French.\n\n# Active generation contract — v4.0.0\n\nThis is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.\n\nRead the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.\n\n## D — active design rules\n\n### D-01\n\nFORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.\n\n### D-02\n\nCOLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.\n\n### D-03\n\nONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.\n\n### D-04\n\nMEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.\n\n### D-05\n\nPURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.\n\n### D-06\n\nCONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.\n\n### D-07\n\nREADABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.\n\n### D-08\n\nINTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.\n\n### D-09\n\nCONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.\n\n### D-10\n\nNUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.\n\n### D-11\n\nOPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.\n\n### D-12\n\nRESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.\n\n### D-13\n\nCOHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.\n\n### D-14\n\nRADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.\n\n### D-15\n\nPURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.\n\n### D-16\n\nAUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.\n\n### D-17\n\nLETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.\n\n## W — active working principles\n\n### W-01\n\nEach candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.\n\n### W-02\n\nSolve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.\n\n### W-03\n\nLet the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.\n\n### W-04\n\nSeek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.\n\n### W-05\n\nSeek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.\n\n### W-06\n\nMake thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.\n\n### W-07\n\nDesign for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.\n\n### W-08\n\nChoose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.\n\n### W-09\n\nRequire particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.\n\n### W-10\n\nGive each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.\n\n### W-11\n\nSolve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.\n\n### W-12\n\nReduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.\n\n### W-13\n\nEstablish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.\n\n### W-14\n\nMake the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.\n\n### W-15\n\nUse reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.\n\n### W-16\n\nSeek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.\n\n### W-17\n\nDescribe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.\n\n### W-18\n\nConsider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.\n\n### W-19\n\nPreserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.\n\n### W-20\n\nPut communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.\n\n## C — active control questions\n\n### C-01\n\nWhich observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.\n\n### C-02\n\nCan this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?\n\n### C-03\n\nWhat actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?\n\n### C-04\n\nDid simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?\n\n### C-05\n\nDoes one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?\n\n### C-06\n\nWhat dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?\n\n## I — full curriculum of methods and examples\n\n### I-01 — Peter Behrens\n\nCurriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.\n\n### I-02 — A.M. Cassandre\n\nCurriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.\n\n### I-03 — Paul Rand\n\nCurriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.\n\n### I-04 — Saul Bass\n\nCurriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.\n\n### I-05 — Raymond Loewy\n\nCurriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.\n\n### I-06 — Milton Glaser\n\nCurriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.\n\n### I-07 — Ivan Chermayeff\n\nCurriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.\n\n### I-08 — Tom Geismar\n\nCurriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.\n\n### I-09 — Otl Aicher\n\nCurriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.\n\n### I-10 — Yusaku Kamekura\n\nCurriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.\n\n### I-11 — Alan Fletcher\n\nCurriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.\n\n### I-12 — Herb Lubalin\n\nCurriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.\n\n### I-13 — Walter Landor\n\nCurriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.\n\n### I-14 — Carolyn Davidson\n\nCurriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.\n\n### I-15 — Rob Janoff\n\nCurriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.\n\n### I-16 — Lindon Leader\n\nCurriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.\n\n### I-17 — Paula Scher\n\nCurriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.\n\n### I-18 — Henry Steiner\n\nThe source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.\n\n### I-19 — Michael Bierut\n\nCurriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.\n\n\n\nHISTORICAL REFERENCE MECHANISMS\n\nATTACHED REFERENCE 2: GI19 / dog & fish\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nDirect visual verification\nA dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.\n\nTransferable inspiration\n**When this is useful:** Two subjects share a contour or figure/ground boundary.\n\n**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.\n\n**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?\n\nATTACHED REFERENCE 3: ST44 / COUNTERS\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical description\nThe boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.\n\nUsable formal mechanisms\nMake the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.\n\nFit conditions\nUseful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.\n\nConflicts, risks, and scale or monochrome adaptations\nA forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.\n\nWhat not to copy\nDo not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.\n\nATTACHED REFERENCE 4: ST74 / BRACKETING\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical design description\nLet two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.\n\nUsable mechanisms\nTwo complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.\n\nFit conditions\nUseful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.\n\nConflicts, scale, monochrome, and adaptations\nGeneric ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.\n\nWhat not to copy\nDo not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.\n\nInspect the two closed eyes separately from the large surrounding openings. Background removal should leave each eye intact as a small positive crescent, surrounded by genuine alpha rather than an opaque facial patch.\n",
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release-fr-full-3d.json

creative/payloads/logos/release-fr-full-3d.json

JSON · 32,930 B

Pokaż treść
{
  "prompt": "OUTPUT STAGE: STANDALONE LOGO\nAPPROVED WORDMARK: Semaine Mondiale de l'Allaitement Maternel\n\nCRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK\n\nThe earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.\n\nRELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY\n\nThe owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.\n\nREFERENCE MAP\nfirst image: [APPROVED-FR] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.\nsecond image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.\nthird image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.\nfourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.\nEND REFERENCE MAP\n\nACTUAL IDENTITY LOCK\n\nThe first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.\n\nEXACT LETTERING IS PART OF THE APPROVED IDENTITY\n\nUse only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.\n\nTRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT\n\nThe output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.\n\nPreserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.\n\nSINGLE-ASSET COMPOSITION AND DELIVERY\n\nReturn one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.\n\nFINAL INTERNAL COMPARISON\n\nBefore returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.\n\nThen inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.\n\nMODE: FULL 3D TRANSPARENT SCULPTURAL LOGO\n\nTransform the positive shapes of the approved logo into a substantial satin violet porcelain-like sculptural object while preserving its precise frontal identity and spelling. Use an orthographic frontal camera so the name remains easy to read and the approved proportions stay recognizable. Extrude the symbol and letters to a clear depth approximately eight percent of the symbol's height, with softly rounded bevels, visible side faces, and controlled occlusion. The result must visibly have depth, not merely a flat purple graphic with a drop shadow.\n\nThe symbol's front material is based on #8A5AA5 violet, with realistic lighter highlights and darker purple side shading from a soft upper-left studio light. The wordmark becomes coherent raised sculptural deep-plum lettering based on #4F2873, with the same lettering shapes and exact approved lines. Give the typography its own readable dimensional bevels without making counters close or letters join. Both existing small eye crescents remain deep-plum opaque inlay-like sculptural details in their original locations.\n\nAll faces, neck openings, infant openings, letter counters, spaces, and surrounding canvas remain full alpha cutouts through the object. Never fill these spaces with a porcelain plate, skin-colored face, transparent glass, background disc, plaque, connected backing sheet, or floor. Isolated eye marks and isolated letters are permitted floating parts in this logo asset. Use light on the object itself, without a cast shadow on an invented receiving surface. No plinth, stage, jewelry item, extra object, room, border, or photographic scenery.\n\nMaintain the original front-facing symbol silhouette and text arrangement. Extrusion and bevels may introduce physically meaningful side contours, but must not redraw profiles, add eyelashes, erase an accent, obscure an apostrophe, or change the approved words. The material is satin rather than mirror chrome; highlights should clarify the rounding and depth without washing out the lettering. This PNG is a full 3D-style rendered logo asset, not a deliverable mesh or an animated scene.\n\nEXACT APPROVED COPY TO PRESERVE\n\nRender precisely these 2 approved line(s), unchanged from the first reference:\nSemaine Mondiale\nde l'Allaitement Maternel\n\nCOPY RISKS\nPreserve uppercase S, M, A, M as supplied and lowercase de l. Keep the apostrophe, Allaitement with double l, and final Maternel. Distinct from shorter sentence-case Belgian French.\n\n# Active generation contract — v4.0.0\n\nThis is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.\n\nRead the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.\n\n## D — active design rules\n\n### D-01\n\nFORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.\n\n### D-02\n\nCOLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.\n\n### D-03\n\nONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.\n\n### D-04\n\nMEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.\n\n### D-05\n\nPURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.\n\n### D-06\n\nCONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.\n\n### D-07\n\nREADABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.\n\n### D-08\n\nINTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.\n\n### D-09\n\nCONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.\n\n### D-10\n\nNUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.\n\n### D-11\n\nOPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.\n\n### D-12\n\nRESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.\n\n### D-13\n\nCOHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.\n\n### D-14\n\nRADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.\n\n### D-15\n\nPURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.\n\n### D-16\n\nAUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.\n\n### D-17\n\nLETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.\n\n## W — active working principles\n\n### W-01\n\nEach candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.\n\n### W-02\n\nSolve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.\n\n### W-03\n\nLet the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.\n\n### W-04\n\nSeek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.\n\n### W-05\n\nSeek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.\n\n### W-06\n\nMake thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.\n\n### W-07\n\nDesign for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.\n\n### W-08\n\nChoose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.\n\n### W-09\n\nRequire particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.\n\n### W-10\n\nGive each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.\n\n### W-11\n\nSolve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.\n\n### W-12\n\nReduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.\n\n### W-13\n\nEstablish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.\n\n### W-14\n\nMake the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.\n\n### W-15\n\nUse reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.\n\n### W-16\n\nSeek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.\n\n### W-17\n\nDescribe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.\n\n### W-18\n\nConsider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.\n\n### W-19\n\nPreserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.\n\n### W-20\n\nPut communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.\n\n## C — active control questions\n\n### C-01\n\nWhich observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.\n\n### C-02\n\nCan this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?\n\n### C-03\n\nWhat actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?\n\n### C-04\n\nDid simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?\n\n### C-05\n\nDoes one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?\n\n### C-06\n\nWhat dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?\n\n## I — full curriculum of methods and examples\n\n### I-01 — Peter Behrens\n\nCurriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.\n\n### I-02 — A.M. Cassandre\n\nCurriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.\n\n### I-03 — Paul Rand\n\nCurriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.\n\n### I-04 — Saul Bass\n\nCurriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.\n\n### I-05 — Raymond Loewy\n\nCurriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.\n\n### I-06 — Milton Glaser\n\nCurriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.\n\n### I-07 — Ivan Chermayeff\n\nCurriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.\n\n### I-08 — Tom Geismar\n\nCurriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.\n\n### I-09 — Otl Aicher\n\nCurriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.\n\n### I-10 — Yusaku Kamekura\n\nCurriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.\n\n### I-11 — Alan Fletcher\n\nCurriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.\n\n### I-12 — Herb Lubalin\n\nCurriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.\n\n### I-13 — Walter Landor\n\nCurriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.\n\n### I-14 — Carolyn Davidson\n\nCurriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.\n\n### I-15 — Rob Janoff\n\nCurriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.\n\n### I-16 — Lindon Leader\n\nCurriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.\n\n### I-17 — Paula Scher\n\nCurriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.\n\n### I-18 — Henry Steiner\n\nThe source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.\n\n### I-19 — Michael Bierut\n\nCurriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.\n\n\n\nHISTORICAL REFERENCE MECHANISMS\n\nATTACHED REFERENCE 2: GI19 / dog & fish\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nDirect visual verification\nA dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.\n\nTransferable inspiration\n**When this is useful:** Two subjects share a contour or figure/ground boundary.\n\n**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.\n\n**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?\n\nATTACHED REFERENCE 3: ST44 / COUNTERS\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical description\nThe boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.\n\nUsable formal mechanisms\nMake the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.\n\nFit conditions\nUseful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.\n\nConflicts, risks, and scale or monochrome adaptations\nA forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.\n\nWhat not to copy\nDo not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.\n\nATTACHED REFERENCE 4: ST74 / BRACKETING\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical design description\nLet two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.\n\nUsable mechanisms\nTwo complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.\n\nFit conditions\nUseful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.\n\nConflicts, scale, monochrome, and adaptations\nGeneric ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.\n\nWhat not to copy\nDo not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.\n\nPreserve the baseline of every approved text line. A physical-looking letter may have a beveled face, but its front silhouette still follows the selected humanist sans design. No letter tilts independently or moves out of alignment.\n\nInspect the two closed eyes separately from the large surrounding openings. Background removal should leave each eye intact as a small positive crescent, surrounded by genuine alpha rather than an opaque facial patch.\n",
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release-fr-light.json

creative/payloads/logos/release-fr-light.json

JSON · 32,907 B

Pokaż treść
{
  "prompt": "OUTPUT STAGE: STANDALONE LOGO\nAPPROVED WORDMARK: Semaine Mondiale de l'Allaitement Maternel\n\nCRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK\n\nThe earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.\n\nRELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY\n\nThe owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.\n\nREFERENCE MAP\nfirst image: [APPROVED-FR] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.\nsecond image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.\nthird image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.\nfourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.\nEND REFERENCE MAP\n\nACTUAL IDENTITY LOCK\n\nThe first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.\n\nKeep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.\n\nEXACT LETTERING IS PART OF THE APPROVED IDENTITY\n\nUse only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.\n\nOnly the approved name is visible. Do not print the market key, country, language, mode name, hex value, file name, numbering, annotation, subtitle, slogan, year, offer, percentage, website, registration mark, signature, brandkit title, corporate endorsement, or a reference brand. This call returns a production asset, so its workflow labels remain invisible. A checkerboard, color chip, mode badge, or white rectangle with the logo on it is not part of the logo.\n\nTRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT\n\nThe output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.\n\nPreserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.\n\nThink of the PNG as artwork that can be placed over any destination canvas. When the receiving page is dark, the transparent faces and counters reveal that dark page; when it is light, they reveal the light page. Do not bake either destination into this asset. The mode-specific colors below govern only the opaque artwork. A suggestion of a web canvas color is contextual information for contrast, never permission to render a background.\n\nSINGLE-ASSET COMPOSITION AND DELIVERY\n\nReturn one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.\n\nFINAL INTERNAL COMPARISON\n\nBefore returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.\n\nThen inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.\n\nMODE: LIGHT TRANSPARENT FLAT LOGO\n\nRetain the approved flat design. Fill the complete positive mother-and-infant symbol with sRGB #8A5AA5. Fill the entire approved text and both closed-eye crescents with sRGB #4F2873. Keep these colors uniform and opaque. Remove the source background and every pale internal negative shape to full transparency. The light mode means these dark-enough artwork colors are intended for light destination surfaces; it does not mean adding a white or lilac background inside the PNG.\n\nNo depth, bevel, extrusion, material reflection, shadow, glow, metallic finish, embossing, gradient, grain, paper texture, or lighting effect. Preserve the source's exact contours and typography. Normal antialiasing may occur at boundaries only. This is the flat light-mode master for web and layout placement, with the source palette retained in the positive artwork and genuine alpha in all empty regions.\n\nEXACT APPROVED COPY TO PRESERVE\n\nRender precisely these 2 approved line(s), unchanged from the first reference:\nSemaine Mondiale\nde l'Allaitement Maternel\n\nCOPY RISKS\nPreserve uppercase S, M, A, M as supplied and lowercase de l. Keep the apostrophe, Allaitement with double l, and final Maternel. Distinct from shorter sentence-case Belgian French.\n\n# Active generation contract — v4.0.0\n\nThis is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.\n\nRead the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.\n\n## D — active design rules\n\n### D-01\n\nFORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.\n\n### D-02\n\nCOLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.\n\n### D-03\n\nONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.\n\n### D-04\n\nMEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.\n\n### D-05\n\nPURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.\n\n### D-06\n\nCONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.\n\n### D-07\n\nREADABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.\n\n### D-08\n\nINTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.\n\n### D-09\n\nCONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.\n\n### D-10\n\nNUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.\n\n### D-11\n\nOPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.\n\n### D-12\n\nRESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.\n\n### D-13\n\nCOHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.\n\n### D-14\n\nRADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.\n\n### D-15\n\nPURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.\n\n### D-16\n\nAUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.\n\n### D-17\n\nLETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.\n\n## W — active working principles\n\n### W-01\n\nEach candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.\n\n### W-02\n\nSolve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.\n\n### W-03\n\nLet the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.\n\n### W-04\n\nSeek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.\n\n### W-05\n\nSeek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.\n\n### W-06\n\nMake thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.\n\n### W-07\n\nDesign for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.\n\n### W-08\n\nChoose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.\n\n### W-09\n\nRequire particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.\n\n### W-10\n\nGive each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.\n\n### W-11\n\nSolve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.\n\n### W-12\n\nReduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.\n\n### W-13\n\nEstablish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.\n\n### W-14\n\nMake the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.\n\n### W-15\n\nUse reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.\n\n### W-16\n\nSeek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.\n\n### W-17\n\nDescribe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.\n\n### W-18\n\nConsider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.\n\n### W-19\n\nPreserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.\n\n### W-20\n\nPut communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.\n\n## C — active control questions\n\n### C-01\n\nWhich observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.\n\n### C-02\n\nCan this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?\n\n### C-03\n\nWhat actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?\n\n### C-04\n\nDid simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?\n\n### C-05\n\nDoes one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?\n\n### C-06\n\nWhat dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?\n\n## I — full curriculum of methods and examples\n\n### I-01 — Peter Behrens\n\nCurriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.\n\n### I-02 — A.M. Cassandre\n\nCurriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.\n\n### I-03 — Paul Rand\n\nCurriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.\n\n### I-04 — Saul Bass\n\nCurriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.\n\n### I-05 — Raymond Loewy\n\nCurriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.\n\n### I-06 — Milton Glaser\n\nCurriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.\n\n### I-07 — Ivan Chermayeff\n\nCurriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.\n\n### I-08 — Tom Geismar\n\nCurriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.\n\n### I-09 — Otl Aicher\n\nCurriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.\n\n### I-10 — Yusaku Kamekura\n\nCurriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.\n\n### I-11 — Alan Fletcher\n\nCurriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.\n\n### I-12 — Herb Lubalin\n\nCurriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.\n\n### I-13 — Walter Landor\n\nCurriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.\n\n### I-14 — Carolyn Davidson\n\nCurriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.\n\n### I-15 — Rob Janoff\n\nCurriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.\n\n### I-16 — Lindon Leader\n\nCurriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.\n\n### I-17 — Paula Scher\n\nCurriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.\n\n### I-18 — Henry Steiner\n\nThe source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.\n\n### I-19 — Michael Bierut\n\nCurriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.\n\n\n\nHISTORICAL REFERENCE MECHANISMS\n\nATTACHED REFERENCE 2: GI19 / dog & fish\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nDirect visual verification\nA dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.\n\nTransferable inspiration\n**When this is useful:** Two subjects share a contour or figure/ground boundary.\n\n**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.\n\n**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?\n\nATTACHED REFERENCE 3: ST44 / COUNTERS\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical description\nThe boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.\n\nUsable formal mechanisms\nMake the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.\n\nFit conditions\nUseful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.\n\nConflicts, risks, and scale or monochrome adaptations\nA forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.\n\nWhat not to copy\nDo not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.\n\nATTACHED REFERENCE 4: ST74 / BRACKETING\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical design description\nLet two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.\n\nUsable mechanisms\nTwo complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.\n\nFit conditions\nUseful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.\n\nConflicts, scale, monochrome, and adaptations\nGeneric ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.\n\nWhat not to copy\nDo not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.\n\nPreserve the baseline of every approved text line. A physical-looking letter may have a beveled face, but its front silhouette still follows the selected humanist sans design. No letter tilts independently or moves out of alignment.\n",
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release-it-dark.json

creative/payloads/logos/release-it-dark.json

JSON · 32,933 B

Pokaż treść
{
  "prompt": "OUTPUT STAGE: STANDALONE LOGO\nAPPROVED WORDMARK: SAM – Settimana Mondiale per l'Allattamento Materno\n\nCRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK\n\nThe earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.\n\nRELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY\n\nThe owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.\n\nREFERENCE MAP\nfirst image: [APPROVED-IT] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.\nsecond image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.\nthird image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.\nfourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.\nEND REFERENCE MAP\n\nACTUAL IDENTITY LOCK\n\nThe first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.\n\nKeep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.\n\nEXACT LETTERING IS PART OF THE APPROVED IDENTITY\n\nUse only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.\n\nOnly the approved name is visible. Do not print the market key, country, language, mode name, hex value, file name, numbering, annotation, subtitle, slogan, year, offer, percentage, website, registration mark, signature, brandkit title, corporate endorsement, or a reference brand. This call returns a production asset, so its workflow labels remain invisible. A checkerboard, color chip, mode badge, or white rectangle with the logo on it is not part of the logo.\n\nTRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT\n\nThe output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.\n\nPreserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.\n\nThink of the PNG as artwork that can be placed over any destination canvas. When the receiving page is dark, the transparent faces and counters reveal that dark page; when it is light, they reveal the light page. Do not bake either destination into this asset. The mode-specific colors below govern only the opaque artwork. A suggestion of a web canvas color is contextual information for contrast, never permission to render a background.\n\nSINGLE-ASSET COMPOSITION AND DELIVERY\n\nReturn one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.\n\nFINAL INTERNAL COMPARISON\n\nBefore returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.\n\nThen inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.\n\nMODE: DARK TRANSPARENT FLAT LOGO\n\nPreserve the approved flat geometry and replace only its opaque artwork colors. The complete positive mother-and-infant symbol is sRGB #C9A7E1. The entire approved text and both closed-eye crescents are sRGB #F5EEFA. These lighter opaque colors are intended to contrast with a dark website canvas such as #251330. Do not draw that dark canvas, or any other canvas color, inside the PNG. Every original background and negative-space region becomes fully transparent.\n\nDo not invert the topology or fill the faces pale simply because this is dark mode. Both faces reveal the receiving page through alpha; only their two existing eye crescents remain opaque pale lilac. Letter counters reveal the receiving page as well. No depth, bevel, extrusion, grain, metallic effect, shadow, halo, glow, or gradient. This is a clean flat two-color adaptation of the approved actual logo, with every contour and line of text preserved.\n\nEXACT APPROVED COPY TO PRESERVE\n\nRender precisely these 2 approved line(s), unchanged from the first reference:\nSAM – Settimana Mondiale\nper l'Allattamento Materno\n\nCOPY RISKS\nKeep uppercase SAM, the en dash – surrounded by spaces, Settimana with tt, l'Allattamento with apostrophe and double ll and tt, lowercase per and l, uppercase A and M. Do not omit acronym.\n\n# Active generation contract — v4.0.0\n\nThis is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.\n\nRead the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.\n\n## D — active design rules\n\n### D-01\n\nFORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.\n\n### D-02\n\nCOLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.\n\n### D-03\n\nONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.\n\n### D-04\n\nMEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.\n\n### D-05\n\nPURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.\n\n### D-06\n\nCONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.\n\n### D-07\n\nREADABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.\n\n### D-08\n\nINTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.\n\n### D-09\n\nCONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.\n\n### D-10\n\nNUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.\n\n### D-11\n\nOPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.\n\n### D-12\n\nRESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.\n\n### D-13\n\nCOHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.\n\n### D-14\n\nRADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.\n\n### D-15\n\nPURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.\n\n### D-16\n\nAUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.\n\n### D-17\n\nLETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.\n\n## W — active working principles\n\n### W-01\n\nEach candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.\n\n### W-02\n\nSolve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.\n\n### W-03\n\nLet the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.\n\n### W-04\n\nSeek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.\n\n### W-05\n\nSeek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.\n\n### W-06\n\nMake thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.\n\n### W-07\n\nDesign for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.\n\n### W-08\n\nChoose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.\n\n### W-09\n\nRequire particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.\n\n### W-10\n\nGive each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.\n\n### W-11\n\nSolve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.\n\n### W-12\n\nReduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.\n\n### W-13\n\nEstablish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.\n\n### W-14\n\nMake the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.\n\n### W-15\n\nUse reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.\n\n### W-16\n\nSeek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.\n\n### W-17\n\nDescribe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.\n\n### W-18\n\nConsider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.\n\n### W-19\n\nPreserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.\n\n### W-20\n\nPut communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.\n\n## C — active control questions\n\n### C-01\n\nWhich observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.\n\n### C-02\n\nCan this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?\n\n### C-03\n\nWhat actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?\n\n### C-04\n\nDid simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?\n\n### C-05\n\nDoes one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?\n\n### C-06\n\nWhat dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?\n\n## I — full curriculum of methods and examples\n\n### I-01 — Peter Behrens\n\nCurriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.\n\n### I-02 — A.M. Cassandre\n\nCurriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.\n\n### I-03 — Paul Rand\n\nCurriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.\n\n### I-04 — Saul Bass\n\nCurriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.\n\n### I-05 — Raymond Loewy\n\nCurriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.\n\n### I-06 — Milton Glaser\n\nCurriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.\n\n### I-07 — Ivan Chermayeff\n\nCurriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.\n\n### I-08 — Tom Geismar\n\nCurriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.\n\n### I-09 — Otl Aicher\n\nCurriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.\n\n### I-10 — Yusaku Kamekura\n\nCurriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.\n\n### I-11 — Alan Fletcher\n\nCurriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.\n\n### I-12 — Herb Lubalin\n\nCurriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.\n\n### I-13 — Walter Landor\n\nCurriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.\n\n### I-14 — Carolyn Davidson\n\nCurriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.\n\n### I-15 — Rob Janoff\n\nCurriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.\n\n### I-16 — Lindon Leader\n\nCurriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.\n\n### I-17 — Paula Scher\n\nCurriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.\n\n### I-18 — Henry Steiner\n\nThe source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.\n\n### I-19 — Michael Bierut\n\nCurriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.\n\n\n\nHISTORICAL REFERENCE MECHANISMS\n\nATTACHED REFERENCE 2: GI19 / dog & fish\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nDirect visual verification\nA dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.\n\nTransferable inspiration\n**When this is useful:** Two subjects share a contour or figure/ground boundary.\n\n**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.\n\n**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?\n\nATTACHED REFERENCE 3: ST44 / COUNTERS\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical description\nThe boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.\n\nUsable formal mechanisms\nMake the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.\n\nFit conditions\nUseful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.\n\nConflicts, risks, and scale or monochrome adaptations\nA forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.\n\nWhat not to copy\nDo not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.\n\nATTACHED REFERENCE 4: ST74 / BRACKETING\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical design description\nLet two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.\n\nUsable mechanisms\nTwo complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.\n\nFit conditions\nUseful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.\n\nConflicts, scale, monochrome, and adaptations\nGeneric ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.\n\nWhat not to copy\nDo not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.\n\nTransparent clear space must be continuous all the way to the outer canvas edges. No faint pale rectangle, edge stroke, vignette, or residual source background should survive around the artwork.\n",
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release-it-full-3d.json

creative/payloads/logos/release-it-full-3d.json

JSON · 32,938 B

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{
  "prompt": "OUTPUT STAGE: STANDALONE LOGO\nAPPROVED WORDMARK: SAM – Settimana Mondiale per l'Allattamento Materno\n\nCRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK\n\nThe earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.\n\nRELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY\n\nThe owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.\n\nREFERENCE MAP\nfirst image: [APPROVED-IT] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.\nsecond image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.\nthird image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.\nfourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.\nEND REFERENCE MAP\n\nACTUAL IDENTITY LOCK\n\nThe first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.\n\nEXACT LETTERING IS PART OF THE APPROVED IDENTITY\n\nUse only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.\n\nTRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT\n\nThe output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.\n\nPreserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.\n\nSINGLE-ASSET COMPOSITION AND DELIVERY\n\nReturn one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.\n\nFINAL INTERNAL COMPARISON\n\nBefore returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.\n\nThen inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.\n\nMODE: FULL 3D TRANSPARENT SCULPTURAL LOGO\n\nTransform the positive shapes of the approved logo into a substantial satin violet porcelain-like sculptural object while preserving its precise frontal identity and spelling. Use an orthographic frontal camera so the name remains easy to read and the approved proportions stay recognizable. Extrude the symbol and letters to a clear depth approximately eight percent of the symbol's height, with softly rounded bevels, visible side faces, and controlled occlusion. The result must visibly have depth, not merely a flat purple graphic with a drop shadow.\n\nThe symbol's front material is based on #8A5AA5 violet, with realistic lighter highlights and darker purple side shading from a soft upper-left studio light. The wordmark becomes coherent raised sculptural deep-plum lettering based on #4F2873, with the same lettering shapes and exact approved lines. Give the typography its own readable dimensional bevels without making counters close or letters join. Both existing small eye crescents remain deep-plum opaque inlay-like sculptural details in their original locations.\n\nAll faces, neck openings, infant openings, letter counters, spaces, and surrounding canvas remain full alpha cutouts through the object. Never fill these spaces with a porcelain plate, skin-colored face, transparent glass, background disc, plaque, connected backing sheet, or floor. Isolated eye marks and isolated letters are permitted floating parts in this logo asset. Use light on the object itself, without a cast shadow on an invented receiving surface. No plinth, stage, jewelry item, extra object, room, border, or photographic scenery.\n\nMaintain the original front-facing symbol silhouette and text arrangement. Extrusion and bevels may introduce physically meaningful side contours, but must not redraw profiles, add eyelashes, erase an accent, obscure an apostrophe, or change the approved words. The material is satin rather than mirror chrome; highlights should clarify the rounding and depth without washing out the lettering. This PNG is a full 3D-style rendered logo asset, not a deliverable mesh or an animated scene.\n\nEXACT APPROVED COPY TO PRESERVE\n\nRender precisely these 2 approved line(s), unchanged from the first reference:\nSAM – Settimana Mondiale\nper l'Allattamento Materno\n\nCOPY RISKS\nKeep uppercase SAM, the en dash – surrounded by spaces, Settimana with tt, l'Allattamento with apostrophe and double ll and tt, lowercase per and l, uppercase A and M. Do not omit acronym.\n\n# Active generation contract — v4.0.0\n\nThis is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.\n\nRead the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.\n\n## D — active design rules\n\n### D-01\n\nFORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.\n\n### D-02\n\nCOLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.\n\n### D-03\n\nONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.\n\n### D-04\n\nMEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.\n\n### D-05\n\nPURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.\n\n### D-06\n\nCONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.\n\n### D-07\n\nREADABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.\n\n### D-08\n\nINTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.\n\n### D-09\n\nCONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.\n\n### D-10\n\nNUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.\n\n### D-11\n\nOPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.\n\n### D-12\n\nRESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.\n\n### D-13\n\nCOHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.\n\n### D-14\n\nRADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.\n\n### D-15\n\nPURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.\n\n### D-16\n\nAUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.\n\n### D-17\n\nLETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.\n\n## W — active working principles\n\n### W-01\n\nEach candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.\n\n### W-02\n\nSolve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.\n\n### W-03\n\nLet the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.\n\n### W-04\n\nSeek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.\n\n### W-05\n\nSeek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.\n\n### W-06\n\nMake thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.\n\n### W-07\n\nDesign for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.\n\n### W-08\n\nChoose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.\n\n### W-09\n\nRequire particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.\n\n### W-10\n\nGive each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.\n\n### W-11\n\nSolve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.\n\n### W-12\n\nReduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.\n\n### W-13\n\nEstablish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.\n\n### W-14\n\nMake the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.\n\n### W-15\n\nUse reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.\n\n### W-16\n\nSeek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.\n\n### W-17\n\nDescribe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.\n\n### W-18\n\nConsider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.\n\n### W-19\n\nPreserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.\n\n### W-20\n\nPut communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.\n\n## C — active control questions\n\n### C-01\n\nWhich observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.\n\n### C-02\n\nCan this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?\n\n### C-03\n\nWhat actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?\n\n### C-04\n\nDid simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?\n\n### C-05\n\nDoes one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?\n\n### C-06\n\nWhat dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?\n\n## I — full curriculum of methods and examples\n\n### I-01 — Peter Behrens\n\nCurriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.\n\n### I-02 — A.M. Cassandre\n\nCurriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.\n\n### I-03 — Paul Rand\n\nCurriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.\n\n### I-04 — Saul Bass\n\nCurriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.\n\n### I-05 — Raymond Loewy\n\nCurriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.\n\n### I-06 — Milton Glaser\n\nCurriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.\n\n### I-07 — Ivan Chermayeff\n\nCurriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.\n\n### I-08 — Tom Geismar\n\nCurriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.\n\n### I-09 — Otl Aicher\n\nCurriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.\n\n### I-10 — Yusaku Kamekura\n\nCurriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.\n\n### I-11 — Alan Fletcher\n\nCurriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.\n\n### I-12 — Herb Lubalin\n\nCurriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.\n\n### I-13 — Walter Landor\n\nCurriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.\n\n### I-14 — Carolyn Davidson\n\nCurriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.\n\n### I-15 — Rob Janoff\n\nCurriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.\n\n### I-16 — Lindon Leader\n\nCurriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.\n\n### I-17 — Paula Scher\n\nCurriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.\n\n### I-18 — Henry Steiner\n\nThe source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.\n\n### I-19 — Michael Bierut\n\nCurriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.\n\n\n\nHISTORICAL REFERENCE MECHANISMS\n\nATTACHED REFERENCE 2: GI19 / dog & fish\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nDirect visual verification\nA dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.\n\nTransferable inspiration\n**When this is useful:** Two subjects share a contour or figure/ground boundary.\n\n**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.\n\n**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?\n\nATTACHED REFERENCE 3: ST44 / COUNTERS\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical description\nThe boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.\n\nUsable formal mechanisms\nMake the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.\n\nFit conditions\nUseful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.\n\nConflicts, risks, and scale or monochrome adaptations\nA forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.\n\nWhat not to copy\nDo not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.\n\nATTACHED REFERENCE 4: ST74 / BRACKETING\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical design description\nLet two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.\n\nUsable mechanisms\nTwo complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.\n\nFit conditions\nUseful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.\n\nConflicts, scale, monochrome, and adaptations\nGeneric ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.\n\nWhat not to copy\nDo not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.\n\nPreserve the baseline of every approved text line. A physical-looking letter may have a beveled face, but its front silhouette still follows the selected humanist sans design. No letter tilts independently or moves out of alignment.\n\nTransparent clear space must be continuous all the way to the outer canvas edges. No faint pale rectangle, edge stroke, vignette, or residual source background should survive around the artwork.\n",
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release-it-light.json

creative/payloads/logos/release-it-light.json

JSON · 32,938 B

Pokaż treść
{
  "prompt": "OUTPUT STAGE: STANDALONE LOGO\nAPPROVED WORDMARK: SAM – Settimana Mondiale per l'Allattamento Materno\n\nCRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK\n\nThe earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.\n\nRELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY\n\nThe owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.\n\nREFERENCE MAP\nfirst image: [APPROVED-IT] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.\nsecond image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.\nthird image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.\nfourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.\nEND REFERENCE MAP\n\nACTUAL IDENTITY LOCK\n\nThe first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.\n\nKeep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.\n\nEXACT LETTERING IS PART OF THE APPROVED IDENTITY\n\nUse only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.\n\nOnly the approved name is visible. Do not print the market key, country, language, mode name, hex value, file name, numbering, annotation, subtitle, slogan, year, offer, percentage, website, registration mark, signature, brandkit title, corporate endorsement, or a reference brand. This call returns a production asset, so its workflow labels remain invisible. A checkerboard, color chip, mode badge, or white rectangle with the logo on it is not part of the logo.\n\nTRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT\n\nThe output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.\n\nPreserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.\n\nThink of the PNG as artwork that can be placed over any destination canvas. When the receiving page is dark, the transparent faces and counters reveal that dark page; when it is light, they reveal the light page. Do not bake either destination into this asset. The mode-specific colors below govern only the opaque artwork. A suggestion of a web canvas color is contextual information for contrast, never permission to render a background.\n\nSINGLE-ASSET COMPOSITION AND DELIVERY\n\nReturn one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.\n\nFINAL INTERNAL COMPARISON\n\nBefore returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.\n\nThen inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.\n\nMODE: LIGHT TRANSPARENT FLAT LOGO\n\nRetain the approved flat design. Fill the complete positive mother-and-infant symbol with sRGB #8A5AA5. Fill the entire approved text and both closed-eye crescents with sRGB #4F2873. Keep these colors uniform and opaque. Remove the source background and every pale internal negative shape to full transparency. The light mode means these dark-enough artwork colors are intended for light destination surfaces; it does not mean adding a white or lilac background inside the PNG.\n\nNo depth, bevel, extrusion, material reflection, shadow, glow, metallic finish, embossing, gradient, grain, paper texture, or lighting effect. Preserve the source's exact contours and typography. Normal antialiasing may occur at boundaries only. This is the flat light-mode master for web and layout placement, with the source palette retained in the positive artwork and genuine alpha in all empty regions.\n\nEXACT APPROVED COPY TO PRESERVE\n\nRender precisely these 2 approved line(s), unchanged from the first reference:\nSAM – Settimana Mondiale\nper l'Allattamento Materno\n\nCOPY RISKS\nKeep uppercase SAM, the en dash – surrounded by spaces, Settimana with tt, l'Allattamento with apostrophe and double ll and tt, lowercase per and l, uppercase A and M. Do not omit acronym.\n\n# Active generation contract — v4.0.0\n\nThis is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.\n\nRead the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.\n\n## D — active design rules\n\n### D-01\n\nFORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.\n\n### D-02\n\nCOLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.\n\n### D-03\n\nONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.\n\n### D-04\n\nMEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.\n\n### D-05\n\nPURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.\n\n### D-06\n\nCONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.\n\n### D-07\n\nREADABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.\n\n### D-08\n\nINTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.\n\n### D-09\n\nCONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.\n\n### D-10\n\nNUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.\n\n### D-11\n\nOPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.\n\n### D-12\n\nRESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.\n\n### D-13\n\nCOHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.\n\n### D-14\n\nRADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.\n\n### D-15\n\nPURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.\n\n### D-16\n\nAUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.\n\n### D-17\n\nLETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.\n\n## W — active working principles\n\n### W-01\n\nEach candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.\n\n### W-02\n\nSolve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.\n\n### W-03\n\nLet the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.\n\n### W-04\n\nSeek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.\n\n### W-05\n\nSeek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.\n\n### W-06\n\nMake thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.\n\n### W-07\n\nDesign for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.\n\n### W-08\n\nChoose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.\n\n### W-09\n\nRequire particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.\n\n### W-10\n\nGive each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.\n\n### W-11\n\nSolve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.\n\n### W-12\n\nReduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.\n\n### W-13\n\nEstablish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.\n\n### W-14\n\nMake the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.\n\n### W-15\n\nUse reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.\n\n### W-16\n\nSeek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.\n\n### W-17\n\nDescribe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.\n\n### W-18\n\nConsider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.\n\n### W-19\n\nPreserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.\n\n### W-20\n\nPut communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.\n\n## C — active control questions\n\n### C-01\n\nWhich observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.\n\n### C-02\n\nCan this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?\n\n### C-03\n\nWhat actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?\n\n### C-04\n\nDid simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?\n\n### C-05\n\nDoes one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?\n\n### C-06\n\nWhat dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?\n\n## I — full curriculum of methods and examples\n\n### I-01 — Peter Behrens\n\nCurriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.\n\n### I-02 — A.M. Cassandre\n\nCurriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.\n\n### I-03 — Paul Rand\n\nCurriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.\n\n### I-04 — Saul Bass\n\nCurriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.\n\n### I-05 — Raymond Loewy\n\nCurriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.\n\n### I-06 — Milton Glaser\n\nCurriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.\n\n### I-07 — Ivan Chermayeff\n\nCurriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.\n\n### I-08 — Tom Geismar\n\nCurriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.\n\n### I-09 — Otl Aicher\n\nCurriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.\n\n### I-10 — Yusaku Kamekura\n\nCurriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.\n\n### I-11 — Alan Fletcher\n\nCurriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.\n\n### I-12 — Herb Lubalin\n\nCurriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.\n\n### I-13 — Walter Landor\n\nCurriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.\n\n### I-14 — Carolyn Davidson\n\nCurriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.\n\n### I-15 — Rob Janoff\n\nCurriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.\n\n### I-16 — Lindon Leader\n\nCurriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.\n\n### I-17 — Paula Scher\n\nCurriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.\n\n### I-18 — Henry Steiner\n\nThe source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.\n\n### I-19 — Michael Bierut\n\nCurriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.\n\n\n\nHISTORICAL REFERENCE MECHANISMS\n\nATTACHED REFERENCE 2: GI19 / dog & fish\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nDirect visual verification\nA dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.\n\nTransferable inspiration\n**When this is useful:** Two subjects share a contour or figure/ground boundary.\n\n**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.\n\n**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?\n\nATTACHED REFERENCE 3: ST44 / COUNTERS\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical description\nThe boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.\n\nUsable formal mechanisms\nMake the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.\n\nFit conditions\nUseful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.\n\nConflicts, risks, and scale or monochrome adaptations\nA forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.\n\nWhat not to copy\nDo not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.\n\nATTACHED REFERENCE 4: ST74 / BRACKETING\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical design description\nLet two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.\n\nUsable mechanisms\nTwo complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.\n\nFit conditions\nUseful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.\n\nConflicts, scale, monochrome, and adaptations\nGeneric ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.\n\nWhat not to copy\nDo not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.\n\nPreserve the baseline of every approved text line. A physical-looking letter may have a beveled face, but its front silhouette still follows the selected humanist sans design. No letter tilts independently or moves out of alignment.\n",
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release-nl-dark.json

creative/payloads/logos/release-nl-dark.json

JSON · 32,846 B

Pokaż treść
{
  "prompt": "OUTPUT STAGE: STANDALONE LOGO\nAPPROVED WORDMARK: Landelijke Borstvoedingsweek\n\nCRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK\n\nThe earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.\n\nRELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY\n\nThe owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.\n\nREFERENCE MAP\nfirst image: [APPROVED-NL] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.\nsecond image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.\nthird image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.\nfourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.\nEND REFERENCE MAP\n\nACTUAL IDENTITY LOCK\n\nThe first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.\n\nKeep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.\n\nEXACT LETTERING IS PART OF THE APPROVED IDENTITY\n\nUse only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.\n\nOnly the approved name is visible. Do not print the market key, country, language, mode name, hex value, file name, numbering, annotation, subtitle, slogan, year, offer, percentage, website, registration mark, signature, brandkit title, corporate endorsement, or a reference brand. This call returns a production asset, so its workflow labels remain invisible. A checkerboard, color chip, mode badge, or white rectangle with the logo on it is not part of the logo.\n\nTRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT\n\nThe output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.\n\nPreserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.\n\nThink of the PNG as artwork that can be placed over any destination canvas. When the receiving page is dark, the transparent faces and counters reveal that dark page; when it is light, they reveal the light page. Do not bake either destination into this asset. The mode-specific colors below govern only the opaque artwork. A suggestion of a web canvas color is contextual information for contrast, never permission to render a background.\n\nSINGLE-ASSET COMPOSITION AND DELIVERY\n\nReturn one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.\n\nFINAL INTERNAL COMPARISON\n\nBefore returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.\n\nThen inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.\n\nMODE: DARK TRANSPARENT FLAT LOGO\n\nPreserve the approved flat geometry and replace only its opaque artwork colors. The complete positive mother-and-infant symbol is sRGB #C9A7E1. The entire approved text and both closed-eye crescents are sRGB #F5EEFA. These lighter opaque colors are intended to contrast with a dark website canvas such as #251330. Do not draw that dark canvas, or any other canvas color, inside the PNG. Every original background and negative-space region becomes fully transparent.\n\nDo not invert the topology or fill the faces pale simply because this is dark mode. Both faces reveal the receiving page through alpha; only their two existing eye crescents remain opaque pale lilac. Letter counters reveal the receiving page as well. No depth, bevel, extrusion, grain, metallic effect, shadow, halo, glow, or gradient. This is a clean flat two-color adaptation of the approved actual logo, with every contour and line of text preserved.\n\nEXACT APPROVED COPY TO PRESERVE\n\nRender precisely these 2 approved line(s), unchanged from the first reference:\nLandelijke\nBorstvoedingsweek\n\nCOPY RISKS\nKeep the exact closed compound Borstvoedingsweek and the spelling Landelijke. Do not use the Belgian Wereld prefix.\n\n# Active generation contract — v4.0.0\n\nThis is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.\n\nRead the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.\n\n## D — active design rules\n\n### D-01\n\nFORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.\n\n### D-02\n\nCOLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.\n\n### D-03\n\nONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.\n\n### D-04\n\nMEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.\n\n### D-05\n\nPURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.\n\n### D-06\n\nCONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.\n\n### D-07\n\nREADABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.\n\n### D-08\n\nINTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.\n\n### D-09\n\nCONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.\n\n### D-10\n\nNUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.\n\n### D-11\n\nOPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.\n\n### D-12\n\nRESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.\n\n### D-13\n\nCOHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.\n\n### D-14\n\nRADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.\n\n### D-15\n\nPURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.\n\n### D-16\n\nAUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.\n\n### D-17\n\nLETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.\n\n## W — active working principles\n\n### W-01\n\nEach candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.\n\n### W-02\n\nSolve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.\n\n### W-03\n\nLet the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.\n\n### W-04\n\nSeek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.\n\n### W-05\n\nSeek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.\n\n### W-06\n\nMake thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.\n\n### W-07\n\nDesign for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.\n\n### W-08\n\nChoose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.\n\n### W-09\n\nRequire particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.\n\n### W-10\n\nGive each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.\n\n### W-11\n\nSolve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.\n\n### W-12\n\nReduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.\n\n### W-13\n\nEstablish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.\n\n### W-14\n\nMake the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.\n\n### W-15\n\nUse reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.\n\n### W-16\n\nSeek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.\n\n### W-17\n\nDescribe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.\n\n### W-18\n\nConsider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.\n\n### W-19\n\nPreserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.\n\n### W-20\n\nPut communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.\n\n## C — active control questions\n\n### C-01\n\nWhich observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.\n\n### C-02\n\nCan this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?\n\n### C-03\n\nWhat actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?\n\n### C-04\n\nDid simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?\n\n### C-05\n\nDoes one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?\n\n### C-06\n\nWhat dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?\n\n## I — full curriculum of methods and examples\n\n### I-01 — Peter Behrens\n\nCurriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.\n\n### I-02 — A.M. Cassandre\n\nCurriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.\n\n### I-03 — Paul Rand\n\nCurriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.\n\n### I-04 — Saul Bass\n\nCurriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.\n\n### I-05 — Raymond Loewy\n\nCurriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.\n\n### I-06 — Milton Glaser\n\nCurriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.\n\n### I-07 — Ivan Chermayeff\n\nCurriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.\n\n### I-08 — Tom Geismar\n\nCurriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.\n\n### I-09 — Otl Aicher\n\nCurriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.\n\n### I-10 — Yusaku Kamekura\n\nCurriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.\n\n### I-11 — Alan Fletcher\n\nCurriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.\n\n### I-12 — Herb Lubalin\n\nCurriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.\n\n### I-13 — Walter Landor\n\nCurriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.\n\n### I-14 — Carolyn Davidson\n\nCurriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.\n\n### I-15 — Rob Janoff\n\nCurriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.\n\n### I-16 — Lindon Leader\n\nCurriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.\n\n### I-17 — Paula Scher\n\nCurriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.\n\n### I-18 — Henry Steiner\n\nThe source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.\n\n### I-19 — Michael Bierut\n\nCurriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.\n\n\n\nHISTORICAL REFERENCE MECHANISMS\n\nATTACHED REFERENCE 2: GI19 / dog & fish\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nDirect visual verification\nA dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.\n\nTransferable inspiration\n**When this is useful:** Two subjects share a contour or figure/ground boundary.\n\n**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.\n\n**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?\n\nATTACHED REFERENCE 3: ST44 / COUNTERS\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical description\nThe boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.\n\nUsable formal mechanisms\nMake the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.\n\nFit conditions\nUseful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.\n\nConflicts, risks, and scale or monochrome adaptations\nA forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.\n\nWhat not to copy\nDo not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.\n\nATTACHED REFERENCE 4: ST74 / BRACKETING\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical design description\nLet two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.\n\nUsable mechanisms\nTwo complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.\n\nFit conditions\nUseful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.\n\nConflicts, scale, monochrome, and adaptations\nGeneric ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.\n\nWhat not to copy\nDo not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.\n\nPreserve the baseline of every approved text line. A physical-looking letter may have a beveled face, but its front silhouette still follows the selected humanist sans design. No letter tilts independently or moves out of alignment.\n",
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release-nl-full-3d.json

creative/payloads/logos/release-nl-full-3d.json

JSON · 32,904 B

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{
  "prompt": "OUTPUT STAGE: STANDALONE LOGO\nAPPROVED WORDMARK: Landelijke Borstvoedingsweek\n\nCRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK\n\nThe earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.\n\nRELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY\n\nThe owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.\n\nREFERENCE MAP\nfirst image: [APPROVED-NL] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.\nsecond image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.\nthird image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.\nfourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.\nEND REFERENCE MAP\n\nACTUAL IDENTITY LOCK\n\nThe first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.\n\nKeep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.\n\nEXACT LETTERING IS PART OF THE APPROVED IDENTITY\n\nUse only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.\n\nTRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT\n\nThe output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.\n\nPreserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.\n\nSINGLE-ASSET COMPOSITION AND DELIVERY\n\nReturn one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.\n\nFINAL INTERNAL COMPARISON\n\nBefore returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.\n\nThen inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.\n\nMODE: FULL 3D TRANSPARENT SCULPTURAL LOGO\n\nTransform the positive shapes of the approved logo into a substantial satin violet porcelain-like sculptural object while preserving its precise frontal identity and spelling. Use an orthographic frontal camera so the name remains easy to read and the approved proportions stay recognizable. Extrude the symbol and letters to a clear depth approximately eight percent of the symbol's height, with softly rounded bevels, visible side faces, and controlled occlusion. The result must visibly have depth, not merely a flat purple graphic with a drop shadow.\n\nThe symbol's front material is based on #8A5AA5 violet, with realistic lighter highlights and darker purple side shading from a soft upper-left studio light. The wordmark becomes coherent raised sculptural deep-plum lettering based on #4F2873, with the same lettering shapes and exact approved lines. Give the typography its own readable dimensional bevels without making counters close or letters join. Both existing small eye crescents remain deep-plum opaque inlay-like sculptural details in their original locations.\n\nAll faces, neck openings, infant openings, letter counters, spaces, and surrounding canvas remain full alpha cutouts through the object. Never fill these spaces with a porcelain plate, skin-colored face, transparent glass, background disc, plaque, connected backing sheet, or floor. Isolated eye marks and isolated letters are permitted floating parts in this logo asset. Use light on the object itself, without a cast shadow on an invented receiving surface. No plinth, stage, jewelry item, extra object, room, border, or photographic scenery.\n\nMaintain the original front-facing symbol silhouette and text arrangement. Extrusion and bevels may introduce physically meaningful side contours, but must not redraw profiles, add eyelashes, erase an accent, obscure an apostrophe, or change the approved words. The material is satin rather than mirror chrome; highlights should clarify the rounding and depth without washing out the lettering. This PNG is a full 3D-style rendered logo asset, not a deliverable mesh or an animated scene.\n\nEXACT APPROVED COPY TO PRESERVE\n\nRender precisely these 2 approved line(s), unchanged from the first reference:\nLandelijke\nBorstvoedingsweek\n\nCOPY RISKS\nKeep the exact closed compound Borstvoedingsweek and the spelling Landelijke. Do not use the Belgian Wereld prefix.\n\n# Active generation contract — v4.0.0\n\nThis is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.\n\nRead the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.\n\n## D — active design rules\n\n### D-01\n\nFORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.\n\n### D-02\n\nCOLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.\n\n### D-03\n\nONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.\n\n### D-04\n\nMEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.\n\n### D-05\n\nPURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.\n\n### D-06\n\nCONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.\n\n### D-07\n\nREADABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.\n\n### D-08\n\nINTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.\n\n### D-09\n\nCONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.\n\n### D-10\n\nNUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.\n\n### D-11\n\nOPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.\n\n### D-12\n\nRESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.\n\n### D-13\n\nCOHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.\n\n### D-14\n\nRADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.\n\n### D-15\n\nPURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.\n\n### D-16\n\nAUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.\n\n### D-17\n\nLETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.\n\n## W — active working principles\n\n### W-01\n\nEach candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.\n\n### W-02\n\nSolve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.\n\n### W-03\n\nLet the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.\n\n### W-04\n\nSeek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.\n\n### W-05\n\nSeek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.\n\n### W-06\n\nMake thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.\n\n### W-07\n\nDesign for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.\n\n### W-08\n\nChoose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.\n\n### W-09\n\nRequire particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.\n\n### W-10\n\nGive each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.\n\n### W-11\n\nSolve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.\n\n### W-12\n\nReduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.\n\n### W-13\n\nEstablish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.\n\n### W-14\n\nMake the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.\n\n### W-15\n\nUse reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.\n\n### W-16\n\nSeek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.\n\n### W-17\n\nDescribe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.\n\n### W-18\n\nConsider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.\n\n### W-19\n\nPreserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.\n\n### W-20\n\nPut communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.\n\n## C — active control questions\n\n### C-01\n\nWhich observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.\n\n### C-02\n\nCan this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?\n\n### C-03\n\nWhat actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?\n\n### C-04\n\nDid simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?\n\n### C-05\n\nDoes one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?\n\n### C-06\n\nWhat dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?\n\n## I — full curriculum of methods and examples\n\n### I-01 — Peter Behrens\n\nCurriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.\n\n### I-02 — A.M. Cassandre\n\nCurriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.\n\n### I-03 — Paul Rand\n\nCurriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.\n\n### I-04 — Saul Bass\n\nCurriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.\n\n### I-05 — Raymond Loewy\n\nCurriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.\n\n### I-06 — Milton Glaser\n\nCurriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.\n\n### I-07 — Ivan Chermayeff\n\nCurriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.\n\n### I-08 — Tom Geismar\n\nCurriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.\n\n### I-09 — Otl Aicher\n\nCurriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.\n\n### I-10 — Yusaku Kamekura\n\nCurriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.\n\n### I-11 — Alan Fletcher\n\nCurriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.\n\n### I-12 — Herb Lubalin\n\nCurriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.\n\n### I-13 — Walter Landor\n\nCurriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.\n\n### I-14 — Carolyn Davidson\n\nCurriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.\n\n### I-15 — Rob Janoff\n\nCurriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.\n\n### I-16 — Lindon Leader\n\nCurriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.\n\n### I-17 — Paula Scher\n\nCurriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.\n\n### I-18 — Henry Steiner\n\nThe source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.\n\n### I-19 — Michael Bierut\n\nCurriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.\n\n\n\nHISTORICAL REFERENCE MECHANISMS\n\nATTACHED REFERENCE 2: GI19 / dog & fish\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nDirect visual verification\nA dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.\n\nTransferable inspiration\n**When this is useful:** Two subjects share a contour or figure/ground boundary.\n\n**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.\n\n**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?\n\nATTACHED REFERENCE 3: ST44 / COUNTERS\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical description\nThe boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.\n\nUsable formal mechanisms\nMake the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.\n\nFit conditions\nUseful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.\n\nConflicts, risks, and scale or monochrome adaptations\nA forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.\n\nWhat not to copy\nDo not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.\n\nATTACHED REFERENCE 4: ST74 / BRACKETING\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical design description\nLet two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.\n\nUsable mechanisms\nTwo complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.\n\nFit conditions\nUseful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.\n\nConflicts, scale, monochrome, and adaptations\nGeneric ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.\n\nWhat not to copy\nDo not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.\n",
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release-nl-light.json

creative/payloads/logos/release-nl-light.json

JSON · 32,938 B

Pokaż treść
{
  "prompt": "OUTPUT STAGE: STANDALONE LOGO\nAPPROVED WORDMARK: Landelijke Borstvoedingsweek\n\nCRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK\n\nThe earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.\n\nRELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY\n\nThe owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.\n\nREFERENCE MAP\nfirst image: [APPROVED-NL] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.\nsecond image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.\nthird image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.\nfourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.\nEND REFERENCE MAP\n\nACTUAL IDENTITY LOCK\n\nThe first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.\n\nKeep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.\n\nEXACT LETTERING IS PART OF THE APPROVED IDENTITY\n\nUse only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.\n\nOnly the approved name is visible. Do not print the market key, country, language, mode name, hex value, file name, numbering, annotation, subtitle, slogan, year, offer, percentage, website, registration mark, signature, brandkit title, corporate endorsement, or a reference brand. This call returns a production asset, so its workflow labels remain invisible. A checkerboard, color chip, mode badge, or white rectangle with the logo on it is not part of the logo.\n\nTRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT\n\nThe output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.\n\nPreserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.\n\nThink of the PNG as artwork that can be placed over any destination canvas. When the receiving page is dark, the transparent faces and counters reveal that dark page; when it is light, they reveal the light page. Do not bake either destination into this asset. The mode-specific colors below govern only the opaque artwork. A suggestion of a web canvas color is contextual information for contrast, never permission to render a background.\n\nSINGLE-ASSET COMPOSITION AND DELIVERY\n\nReturn one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.\n\nFINAL INTERNAL COMPARISON\n\nBefore returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.\n\nThen inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.\n\nMODE: LIGHT TRANSPARENT FLAT LOGO\n\nRetain the approved flat design. Fill the complete positive mother-and-infant symbol with sRGB #8A5AA5. Fill the entire approved text and both closed-eye crescents with sRGB #4F2873. Keep these colors uniform and opaque. Remove the source background and every pale internal negative shape to full transparency. The light mode means these dark-enough artwork colors are intended for light destination surfaces; it does not mean adding a white or lilac background inside the PNG.\n\nNo depth, bevel, extrusion, material reflection, shadow, glow, metallic finish, embossing, gradient, grain, paper texture, or lighting effect. Preserve the source's exact contours and typography. Normal antialiasing may occur at boundaries only. This is the flat light-mode master for web and layout placement, with the source palette retained in the positive artwork and genuine alpha in all empty regions.\n\nEXACT APPROVED COPY TO PRESERVE\n\nRender precisely these 2 approved line(s), unchanged from the first reference:\nLandelijke\nBorstvoedingsweek\n\nCOPY RISKS\nKeep the exact closed compound Borstvoedingsweek and the spelling Landelijke. Do not use the Belgian Wereld prefix.\n\n# Active generation contract — v4.0.0\n\nThis is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.\n\nRead the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.\n\n## D — active design rules\n\n### D-01\n\nFORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.\n\n### D-02\n\nCOLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.\n\n### D-03\n\nONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.\n\n### D-04\n\nMEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.\n\n### D-05\n\nPURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.\n\n### D-06\n\nCONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.\n\n### D-07\n\nREADABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.\n\n### D-08\n\nINTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.\n\n### D-09\n\nCONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.\n\n### D-10\n\nNUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.\n\n### D-11\n\nOPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.\n\n### D-12\n\nRESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.\n\n### D-13\n\nCOHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.\n\n### D-14\n\nRADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.\n\n### D-15\n\nPURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.\n\n### D-16\n\nAUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.\n\n### D-17\n\nLETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.\n\n## W — active working principles\n\n### W-01\n\nEach candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.\n\n### W-02\n\nSolve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.\n\n### W-03\n\nLet the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.\n\n### W-04\n\nSeek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.\n\n### W-05\n\nSeek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.\n\n### W-06\n\nMake thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.\n\n### W-07\n\nDesign for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.\n\n### W-08\n\nChoose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.\n\n### W-09\n\nRequire particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.\n\n### W-10\n\nGive each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.\n\n### W-11\n\nSolve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.\n\n### W-12\n\nReduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.\n\n### W-13\n\nEstablish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.\n\n### W-14\n\nMake the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.\n\n### W-15\n\nUse reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.\n\n### W-16\n\nSeek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.\n\n### W-17\n\nDescribe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.\n\n### W-18\n\nConsider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.\n\n### W-19\n\nPreserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.\n\n### W-20\n\nPut communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.\n\n## C — active control questions\n\n### C-01\n\nWhich observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.\n\n### C-02\n\nCan this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?\n\n### C-03\n\nWhat actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?\n\n### C-04\n\nDid simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?\n\n### C-05\n\nDoes one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?\n\n### C-06\n\nWhat dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?\n\n## I — full curriculum of methods and examples\n\n### I-01 — Peter Behrens\n\nCurriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.\n\n### I-02 — A.M. Cassandre\n\nCurriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.\n\n### I-03 — Paul Rand\n\nCurriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.\n\n### I-04 — Saul Bass\n\nCurriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.\n\n### I-05 — Raymond Loewy\n\nCurriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.\n\n### I-06 — Milton Glaser\n\nCurriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.\n\n### I-07 — Ivan Chermayeff\n\nCurriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.\n\n### I-08 — Tom Geismar\n\nCurriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.\n\n### I-09 — Otl Aicher\n\nCurriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.\n\n### I-10 — Yusaku Kamekura\n\nCurriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.\n\n### I-11 — Alan Fletcher\n\nCurriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.\n\n### I-12 — Herb Lubalin\n\nCurriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.\n\n### I-13 — Walter Landor\n\nCurriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.\n\n### I-14 — Carolyn Davidson\n\nCurriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.\n\n### I-15 — Rob Janoff\n\nCurriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.\n\n### I-16 — Lindon Leader\n\nCurriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.\n\n### I-17 — Paula Scher\n\nCurriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.\n\n### I-18 — Henry Steiner\n\nThe source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.\n\n### I-19 — Michael Bierut\n\nCurriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.\n\n\n\nHISTORICAL REFERENCE MECHANISMS\n\nATTACHED REFERENCE 2: GI19 / dog & fish\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nDirect visual verification\nA dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.\n\nTransferable inspiration\n**When this is useful:** Two subjects share a contour or figure/ground boundary.\n\n**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.\n\n**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?\n\nATTACHED REFERENCE 3: ST44 / COUNTERS\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical description\nThe boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.\n\nUsable formal mechanisms\nMake the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.\n\nFit conditions\nUseful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.\n\nConflicts, risks, and scale or monochrome adaptations\nA forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.\n\nWhat not to copy\nDo not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.\n\nATTACHED REFERENCE 4: ST74 / BRACKETING\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical design description\nLet two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.\n\nUsable mechanisms\nTwo complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.\n\nFit conditions\nUseful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.\n\nConflicts, scale, monochrome, and adaptations\nGeneric ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.\n\nWhat not to copy\nDo not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.\n\nDo not add a colored keyline around the entire asset to increase contrast. Contrast comes from the assigned mode colors and the receiving page, while the cutout contours remain clean.\n\nAn empty transparent pixel is not a pale paint sample. Removing the source background includes the enclosed faces and letter holes, not only the outer rectangular canvas.\n",
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release-pl-dark.json

creative/payloads/logos/release-pl-dark.json

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{
  "prompt": "OUTPUT STAGE: STANDALONE LOGO\nAPPROVED WORDMARK: Międzynarodowy Tydzień Noszenia & Tydzień Bliskości\n\nCRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK\n\nThe earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.\n\nRELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY\n\nThe owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.\n\nREFERENCE MAP\nfirst image: [APPROVED-PL] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.\nsecond image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.\nthird image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.\nfourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.\nEND REFERENCE MAP\n\nACTUAL IDENTITY LOCK\n\nThe first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.\n\nKeep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.\n\nEXACT LETTERING IS PART OF THE APPROVED IDENTITY\n\nUse only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.\n\nOnly the approved name is visible. Do not print the market key, country, language, mode name, hex value, file name, numbering, annotation, subtitle, slogan, year, offer, percentage, website, registration mark, signature, brandkit title, corporate endorsement, or a reference brand. This call returns a production asset, so its workflow labels remain invisible. A checkerboard, color chip, mode badge, or white rectangle with the logo on it is not part of the logo.\n\nTRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT\n\nThe output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.\n\nPreserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.\n\nThink of the PNG as artwork that can be placed over any destination canvas. When the receiving page is dark, the transparent faces and counters reveal that dark page; when it is light, they reveal the light page. Do not bake either destination into this asset. The mode-specific colors below govern only the opaque artwork. A suggestion of a web canvas color is contextual information for contrast, never permission to render a background.\n\nSINGLE-ASSET COMPOSITION AND DELIVERY\n\nReturn one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.\n\nFINAL INTERNAL COMPARISON\n\nBefore returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.\n\nThen inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.\n\nMODE: DARK TRANSPARENT FLAT LOGO\n\nPreserve the approved flat geometry and replace only its opaque artwork colors. The complete positive mother-and-infant symbol is sRGB #C9A7E1. The entire approved text and both closed-eye crescents are sRGB #F5EEFA. These lighter opaque colors are intended to contrast with a dark website canvas such as #251330. Do not draw that dark canvas, or any other canvas color, inside the PNG. Every original background and negative-space region becomes fully transparent.\n\nDo not invert the topology or fill the faces pale simply because this is dark mode. Both faces reveal the receiving page through alpha; only their two existing eye crescents remain opaque pale lilac. Letter counters reveal the receiving page as well. No depth, bevel, extrusion, grain, metallic effect, shadow, halo, glow, or gradient. This is a clean flat two-color adaptation of the approved actual logo, with every contour and line of text preserved.\n\nEXACT APPROVED COPY TO PRESERVE\n\nRender precisely these 3 approved line(s), unchanged from the first reference:\nMiędzynarodowy\nTydzień Noszenia\n& Tydzień Bliskości\n\nCOPY RISKS\nPolish diacritics ę in Międzynarodowy, ń in both Tydzień occurrences, ś in Bliskości. Preserve ampersand and two repetitions of Tydzień. Do not substitute breastfeeding terminology.\n\n# Active generation contract — v4.0.0\n\nThis is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.\n\nRead the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.\n\n## D — active design rules\n\n### D-01\n\nFORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.\n\n### D-02\n\nCOLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.\n\n### D-03\n\nONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.\n\n### D-04\n\nMEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.\n\n### D-05\n\nPURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.\n\n### D-06\n\nCONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.\n\n### D-07\n\nREADABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.\n\n### D-08\n\nINTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.\n\n### D-09\n\nCONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.\n\n### D-10\n\nNUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.\n\n### D-11\n\nOPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.\n\n### D-12\n\nRESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.\n\n### D-13\n\nCOHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.\n\n### D-14\n\nRADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.\n\n### D-15\n\nPURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.\n\n### D-16\n\nAUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.\n\n### D-17\n\nLETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.\n\n## W — active working principles\n\n### W-01\n\nEach candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.\n\n### W-02\n\nSolve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.\n\n### W-03\n\nLet the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.\n\n### W-04\n\nSeek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.\n\n### W-05\n\nSeek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.\n\n### W-06\n\nMake thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.\n\n### W-07\n\nDesign for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.\n\n### W-08\n\nChoose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.\n\n### W-09\n\nRequire particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.\n\n### W-10\n\nGive each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.\n\n### W-11\n\nSolve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.\n\n### W-12\n\nReduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.\n\n### W-13\n\nEstablish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.\n\n### W-14\n\nMake the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.\n\n### W-15\n\nUse reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.\n\n### W-16\n\nSeek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.\n\n### W-17\n\nDescribe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.\n\n### W-18\n\nConsider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.\n\n### W-19\n\nPreserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.\n\n### W-20\n\nPut communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.\n\n## C — active control questions\n\n### C-01\n\nWhich observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.\n\n### C-02\n\nCan this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?\n\n### C-03\n\nWhat actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?\n\n### C-04\n\nDid simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?\n\n### C-05\n\nDoes one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?\n\n### C-06\n\nWhat dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?\n\n## I — full curriculum of methods and examples\n\n### I-01 — Peter Behrens\n\nCurriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.\n\n### I-02 — A.M. Cassandre\n\nCurriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.\n\n### I-03 — Paul Rand\n\nCurriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.\n\n### I-04 — Saul Bass\n\nCurriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.\n\n### I-05 — Raymond Loewy\n\nCurriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.\n\n### I-06 — Milton Glaser\n\nCurriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.\n\n### I-07 — Ivan Chermayeff\n\nCurriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.\n\n### I-08 — Tom Geismar\n\nCurriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.\n\n### I-09 — Otl Aicher\n\nCurriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.\n\n### I-10 — Yusaku Kamekura\n\nCurriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.\n\n### I-11 — Alan Fletcher\n\nCurriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.\n\n### I-12 — Herb Lubalin\n\nCurriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.\n\n### I-13 — Walter Landor\n\nCurriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.\n\n### I-14 — Carolyn Davidson\n\nCurriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.\n\n### I-15 — Rob Janoff\n\nCurriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.\n\n### I-16 — Lindon Leader\n\nCurriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.\n\n### I-17 — Paula Scher\n\nCurriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.\n\n### I-18 — Henry Steiner\n\nThe source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.\n\n### I-19 — Michael Bierut\n\nCurriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.\n\n\n\nHISTORICAL REFERENCE MECHANISMS\n\nATTACHED REFERENCE 2: GI19 / dog & fish\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nDirect visual verification\nA dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.\n\nTransferable inspiration\n**When this is useful:** Two subjects share a contour or figure/ground boundary.\n\n**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.\n\n**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?\n\nATTACHED REFERENCE 3: ST44 / COUNTERS\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical description\nThe boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.\n\nUsable formal mechanisms\nMake the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.\n\nFit conditions\nUseful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.\n\nConflicts, risks, and scale or monochrome adaptations\nA forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.\n\nWhat not to copy\nDo not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.\n\nATTACHED REFERENCE 4: ST74 / BRACKETING\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical design description\nLet two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.\n\nUsable mechanisms\nTwo complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.\n\nFit conditions\nUseful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.\n\nConflicts, scale, monochrome, and adaptations\nGeneric ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.\n\nWhat not to copy\nDo not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.\n\nTransparent clear space must be continuous all the way to the outer canvas edges. No faint pale rectangle, edge stroke, vignette, or residual source background should survive around the artwork.\n",
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release-pl-full-3d.json

creative/payloads/logos/release-pl-full-3d.json

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{
  "prompt": "OUTPUT STAGE: STANDALONE LOGO\nAPPROVED WORDMARK: Międzynarodowy Tydzień Noszenia & Tydzień Bliskości\n\nCRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK\n\nThe earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.\n\nRELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY\n\nThe owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.\n\nREFERENCE MAP\nfirst image: [APPROVED-PL] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.\nsecond image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.\nthird image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.\nfourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.\nEND REFERENCE MAP\n\nACTUAL IDENTITY LOCK\n\nThe first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.\n\nEXACT LETTERING IS PART OF THE APPROVED IDENTITY\n\nUse only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.\n\nTRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT\n\nThe output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.\n\nPreserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.\n\nSINGLE-ASSET COMPOSITION AND DELIVERY\n\nReturn one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.\n\nFINAL INTERNAL COMPARISON\n\nBefore returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.\n\nThen inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.\n\nMODE: FULL 3D TRANSPARENT SCULPTURAL LOGO\n\nTransform the positive shapes of the approved logo into a substantial satin violet porcelain-like sculptural object while preserving its precise frontal identity and spelling. Use an orthographic frontal camera so the name remains easy to read and the approved proportions stay recognizable. Extrude the symbol and letters to a clear depth approximately eight percent of the symbol's height, with softly rounded bevels, visible side faces, and controlled occlusion. The result must visibly have depth, not merely a flat purple graphic with a drop shadow.\n\nThe symbol's front material is based on #8A5AA5 violet, with realistic lighter highlights and darker purple side shading from a soft upper-left studio light. The wordmark becomes coherent raised sculptural deep-plum lettering based on #4F2873, with the same lettering shapes and exact approved lines. Give the typography its own readable dimensional bevels without making counters close or letters join. Both existing small eye crescents remain deep-plum opaque inlay-like sculptural details in their original locations.\n\nAll faces, neck openings, infant openings, letter counters, spaces, and surrounding canvas remain full alpha cutouts through the object. Never fill these spaces with a porcelain plate, skin-colored face, transparent glass, background disc, plaque, connected backing sheet, or floor. Isolated eye marks and isolated letters are permitted floating parts in this logo asset. Use light on the object itself, without a cast shadow on an invented receiving surface. No plinth, stage, jewelry item, extra object, room, border, or photographic scenery.\n\nMaintain the original front-facing symbol silhouette and text arrangement. Extrusion and bevels may introduce physically meaningful side contours, but must not redraw profiles, add eyelashes, erase an accent, obscure an apostrophe, or change the approved words. The material is satin rather than mirror chrome; highlights should clarify the rounding and depth without washing out the lettering. This PNG is a full 3D-style rendered logo asset, not a deliverable mesh or an animated scene.\n\nEXACT APPROVED COPY TO PRESERVE\n\nRender precisely these 3 approved line(s), unchanged from the first reference:\nMiędzynarodowy\nTydzień Noszenia\n& Tydzień Bliskości\n\nCOPY RISKS\nPolish diacritics ę in Międzynarodowy, ń in both Tydzień occurrences, ś in Bliskości. Preserve ampersand and two repetitions of Tydzień. Do not substitute breastfeeding terminology.\n\n# Active generation contract — v4.0.0\n\nThis is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.\n\nRead the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.\n\n## D — active design rules\n\n### D-01\n\nFORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.\n\n### D-02\n\nCOLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.\n\n### D-03\n\nONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.\n\n### D-04\n\nMEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.\n\n### D-05\n\nPURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.\n\n### D-06\n\nCONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.\n\n### D-07\n\nREADABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.\n\n### D-08\n\nINTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.\n\n### D-09\n\nCONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.\n\n### D-10\n\nNUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.\n\n### D-11\n\nOPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.\n\n### D-12\n\nRESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.\n\n### D-13\n\nCOHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.\n\n### D-14\n\nRADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.\n\n### D-15\n\nPURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.\n\n### D-16\n\nAUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.\n\n### D-17\n\nLETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.\n\n## W — active working principles\n\n### W-01\n\nEach candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.\n\n### W-02\n\nSolve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.\n\n### W-03\n\nLet the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.\n\n### W-04\n\nSeek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.\n\n### W-05\n\nSeek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.\n\n### W-06\n\nMake thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.\n\n### W-07\n\nDesign for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.\n\n### W-08\n\nChoose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.\n\n### W-09\n\nRequire particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.\n\n### W-10\n\nGive each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.\n\n### W-11\n\nSolve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.\n\n### W-12\n\nReduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.\n\n### W-13\n\nEstablish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.\n\n### W-14\n\nMake the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.\n\n### W-15\n\nUse reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.\n\n### W-16\n\nSeek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.\n\n### W-17\n\nDescribe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.\n\n### W-18\n\nConsider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.\n\n### W-19\n\nPreserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.\n\n### W-20\n\nPut communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.\n\n## C — active control questions\n\n### C-01\n\nWhich observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.\n\n### C-02\n\nCan this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?\n\n### C-03\n\nWhat actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?\n\n### C-04\n\nDid simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?\n\n### C-05\n\nDoes one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?\n\n### C-06\n\nWhat dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?\n\n## I — full curriculum of methods and examples\n\n### I-01 — Peter Behrens\n\nCurriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.\n\n### I-02 — A.M. Cassandre\n\nCurriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.\n\n### I-03 — Paul Rand\n\nCurriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.\n\n### I-04 — Saul Bass\n\nCurriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.\n\n### I-05 — Raymond Loewy\n\nCurriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.\n\n### I-06 — Milton Glaser\n\nCurriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.\n\n### I-07 — Ivan Chermayeff\n\nCurriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.\n\n### I-08 — Tom Geismar\n\nCurriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.\n\n### I-09 — Otl Aicher\n\nCurriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.\n\n### I-10 — Yusaku Kamekura\n\nCurriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.\n\n### I-11 — Alan Fletcher\n\nCurriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.\n\n### I-12 — Herb Lubalin\n\nCurriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.\n\n### I-13 — Walter Landor\n\nCurriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.\n\n### I-14 — Carolyn Davidson\n\nCurriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.\n\n### I-15 — Rob Janoff\n\nCurriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.\n\n### I-16 — Lindon Leader\n\nCurriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.\n\n### I-17 — Paula Scher\n\nCurriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.\n\n### I-18 — Henry Steiner\n\nThe source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.\n\n### I-19 — Michael Bierut\n\nCurriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.\n\n\n\nHISTORICAL REFERENCE MECHANISMS\n\nATTACHED REFERENCE 2: GI19 / dog & fish\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nDirect visual verification\nA dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.\n\nTransferable inspiration\n**When this is useful:** Two subjects share a contour or figure/ground boundary.\n\n**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.\n\n**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?\n\nATTACHED REFERENCE 3: ST44 / COUNTERS\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical description\nThe boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.\n\nUsable formal mechanisms\nMake the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.\n\nFit conditions\nUseful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.\n\nConflicts, risks, and scale or monochrome adaptations\nA forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.\n\nWhat not to copy\nDo not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.\n\nATTACHED REFERENCE 4: ST74 / BRACKETING\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical design description\nLet two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.\n\nUsable mechanisms\nTwo complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.\n\nFit conditions\nUseful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.\n\nConflicts, scale, monochrome, and adaptations\nGeneric ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.\n\nWhat not to copy\nDo not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.\n\nPreserve the baseline of every approved text line. A physical-looking letter may have a beveled face, but its front silhouette still follows the selected humanist sans design. No letter tilts independently or moves out of alignment.\n\nTransparent clear space must be continuous all the way to the outer canvas edges. No faint pale rectangle, edge stroke, vignette, or residual source background should survive around the artwork.\n",
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release-pl-light.json

creative/payloads/logos/release-pl-light.json

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{
  "prompt": "OUTPUT STAGE: STANDALONE LOGO\nAPPROVED WORDMARK: Międzynarodowy Tydzień Noszenia & Tydzień Bliskości\n\nCRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK\n\nThe earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.\n\nRELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY\n\nThe owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.\n\nREFERENCE MAP\nfirst image: [APPROVED-PL] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.\nsecond image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.\nthird image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.\nfourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.\nEND REFERENCE MAP\n\nACTUAL IDENTITY LOCK\n\nThe first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.\n\nKeep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.\n\nEXACT LETTERING IS PART OF THE APPROVED IDENTITY\n\nUse only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.\n\nOnly the approved name is visible. Do not print the market key, country, language, mode name, hex value, file name, numbering, annotation, subtitle, slogan, year, offer, percentage, website, registration mark, signature, brandkit title, corporate endorsement, or a reference brand. This call returns a production asset, so its workflow labels remain invisible. A checkerboard, color chip, mode badge, or white rectangle with the logo on it is not part of the logo.\n\nTRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT\n\nThe output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.\n\nPreserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.\n\nThink of the PNG as artwork that can be placed over any destination canvas. When the receiving page is dark, the transparent faces and counters reveal that dark page; when it is light, they reveal the light page. Do not bake either destination into this asset. The mode-specific colors below govern only the opaque artwork. A suggestion of a web canvas color is contextual information for contrast, never permission to render a background.\n\nSINGLE-ASSET COMPOSITION AND DELIVERY\n\nReturn one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.\n\nFINAL INTERNAL COMPARISON\n\nBefore returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.\n\nThen inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.\n\nMODE: LIGHT TRANSPARENT FLAT LOGO\n\nRetain the approved flat design. Fill the complete positive mother-and-infant symbol with sRGB #8A5AA5. Fill the entire approved text and both closed-eye crescents with sRGB #4F2873. Keep these colors uniform and opaque. Remove the source background and every pale internal negative shape to full transparency. The light mode means these dark-enough artwork colors are intended for light destination surfaces; it does not mean adding a white or lilac background inside the PNG.\n\nNo depth, bevel, extrusion, material reflection, shadow, glow, metallic finish, embossing, gradient, grain, paper texture, or lighting effect. Preserve the source's exact contours and typography. Normal antialiasing may occur at boundaries only. This is the flat light-mode master for web and layout placement, with the source palette retained in the positive artwork and genuine alpha in all empty regions.\n\nEXACT APPROVED COPY TO PRESERVE\n\nRender precisely these 3 approved line(s), unchanged from the first reference:\nMiędzynarodowy\nTydzień Noszenia\n& Tydzień Bliskości\n\nCOPY RISKS\nPolish diacritics ę in Międzynarodowy, ń in both Tydzień occurrences, ś in Bliskości. Preserve ampersand and two repetitions of Tydzień. Do not substitute breastfeeding terminology.\n\n# Active generation contract — v4.0.0\n\nThis is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.\n\nRead the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.\n\n## D — active design rules\n\n### D-01\n\nFORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.\n\n### D-02\n\nCOLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.\n\n### D-03\n\nONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.\n\n### D-04\n\nMEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.\n\n### D-05\n\nPURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.\n\n### D-06\n\nCONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.\n\n### D-07\n\nREADABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.\n\n### D-08\n\nINTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.\n\n### D-09\n\nCONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.\n\n### D-10\n\nNUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.\n\n### D-11\n\nOPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.\n\n### D-12\n\nRESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.\n\n### D-13\n\nCOHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.\n\n### D-14\n\nRADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.\n\n### D-15\n\nPURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.\n\n### D-16\n\nAUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.\n\n### D-17\n\nLETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.\n\n## W — active working principles\n\n### W-01\n\nEach candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.\n\n### W-02\n\nSolve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.\n\n### W-03\n\nLet the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.\n\n### W-04\n\nSeek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.\n\n### W-05\n\nSeek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.\n\n### W-06\n\nMake thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.\n\n### W-07\n\nDesign for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.\n\n### W-08\n\nChoose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.\n\n### W-09\n\nRequire particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.\n\n### W-10\n\nGive each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.\n\n### W-11\n\nSolve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.\n\n### W-12\n\nReduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.\n\n### W-13\n\nEstablish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.\n\n### W-14\n\nMake the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.\n\n### W-15\n\nUse reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.\n\n### W-16\n\nSeek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.\n\n### W-17\n\nDescribe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.\n\n### W-18\n\nConsider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.\n\n### W-19\n\nPreserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.\n\n### W-20\n\nPut communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.\n\n## C — active control questions\n\n### C-01\n\nWhich observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.\n\n### C-02\n\nCan this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?\n\n### C-03\n\nWhat actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?\n\n### C-04\n\nDid simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?\n\n### C-05\n\nDoes one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?\n\n### C-06\n\nWhat dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?\n\n## I — full curriculum of methods and examples\n\n### I-01 — Peter Behrens\n\nCurriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.\n\n### I-02 — A.M. Cassandre\n\nCurriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.\n\n### I-03 — Paul Rand\n\nCurriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.\n\n### I-04 — Saul Bass\n\nCurriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.\n\n### I-05 — Raymond Loewy\n\nCurriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.\n\n### I-06 — Milton Glaser\n\nCurriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.\n\n### I-07 — Ivan Chermayeff\n\nCurriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.\n\n### I-08 — Tom Geismar\n\nCurriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.\n\n### I-09 — Otl Aicher\n\nCurriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.\n\n### I-10 — Yusaku Kamekura\n\nCurriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.\n\n### I-11 — Alan Fletcher\n\nCurriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.\n\n### I-12 — Herb Lubalin\n\nCurriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.\n\n### I-13 — Walter Landor\n\nCurriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.\n\n### I-14 — Carolyn Davidson\n\nCurriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.\n\n### I-15 — Rob Janoff\n\nCurriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.\n\n### I-16 — Lindon Leader\n\nCurriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.\n\n### I-17 — Paula Scher\n\nCurriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.\n\n### I-18 — Henry Steiner\n\nThe source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.\n\n### I-19 — Michael Bierut\n\nCurriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.\n\n\n\nHISTORICAL REFERENCE MECHANISMS\n\nATTACHED REFERENCE 2: GI19 / dog & fish\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nDirect visual verification\nA dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.\n\nTransferable inspiration\n**When this is useful:** Two subjects share a contour or figure/ground boundary.\n\n**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.\n\n**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?\n\nATTACHED REFERENCE 3: ST44 / COUNTERS\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical description\nThe boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.\n\nUsable formal mechanisms\nMake the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.\n\nFit conditions\nUseful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.\n\nConflicts, risks, and scale or monochrome adaptations\nA forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.\n\nWhat not to copy\nDo not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.\n\nATTACHED REFERENCE 4: ST74 / BRACKETING\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical design description\nLet two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.\n\nUsable mechanisms\nTwo complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.\n\nFit conditions\nUseful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.\n\nConflicts, scale, monochrome, and adaptations\nGeneric ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.\n\nWhat not to copy\nDo not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.\n\nPreserve the baseline of every approved text line. A physical-looking letter may have a beveled face, but its front silhouette still follows the selected humanist sans design. No letter tilts independently or moves out of alignment.\n",
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release-pt-dark.json

creative/payloads/logos/release-pt-dark.json

JSON · 32,880 B

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{
  "prompt": "OUTPUT STAGE: STANDALONE LOGO\nAPPROVED WORDMARK: Semana Mundial do Aleitamento Materno\n\nCRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK\n\nThe earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.\n\nRELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY\n\nThe owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.\n\nREFERENCE MAP\nfirst image: [APPROVED-PT] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.\nsecond image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.\nthird image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.\nfourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.\nEND REFERENCE MAP\n\nACTUAL IDENTITY LOCK\n\nThe first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.\n\nKeep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.\n\nEXACT LETTERING IS PART OF THE APPROVED IDENTITY\n\nUse only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.\n\nOnly the approved name is visible. Do not print the market key, country, language, mode name, hex value, file name, numbering, annotation, subtitle, slogan, year, offer, percentage, website, registration mark, signature, brandkit title, corporate endorsement, or a reference brand. This call returns a production asset, so its workflow labels remain invisible. A checkerboard, color chip, mode badge, or white rectangle with the logo on it is not part of the logo.\n\nTRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT\n\nThe output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.\n\nPreserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.\n\nThink of the PNG as artwork that can be placed over any destination canvas. When the receiving page is dark, the transparent faces and counters reveal that dark page; when it is light, they reveal the light page. Do not bake either destination into this asset. The mode-specific colors below govern only the opaque artwork. A suggestion of a web canvas color is contextual information for contrast, never permission to render a background.\n\nSINGLE-ASSET COMPOSITION AND DELIVERY\n\nReturn one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.\n\nFINAL INTERNAL COMPARISON\n\nBefore returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.\n\nThen inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.\n\nMODE: DARK TRANSPARENT FLAT LOGO\n\nPreserve the approved flat geometry and replace only its opaque artwork colors. The complete positive mother-and-infant symbol is sRGB #C9A7E1. The entire approved text and both closed-eye crescents are sRGB #F5EEFA. These lighter opaque colors are intended to contrast with a dark website canvas such as #251330. Do not draw that dark canvas, or any other canvas color, inside the PNG. Every original background and negative-space region becomes fully transparent.\n\nDo not invert the topology or fill the faces pale simply because this is dark mode. Both faces reveal the receiving page through alpha; only their two existing eye crescents remain opaque pale lilac. Letter counters reveal the receiving page as well. No depth, bevel, extrusion, grain, metallic effect, shadow, halo, glow, or gradient. This is a clean flat two-color adaptation of the approved actual logo, with every contour and line of text preserved.\n\nEXACT APPROVED COPY TO PRESERVE\n\nRender precisely these 2 approved line(s), unchanged from the first reference:\nSemana Mundial\ndo Aleitamento Materno\n\nCOPY RISKS\nAleitamento is the supplied Portuguese word. Preserve the lowercase do and masculine Materno; do not borrow Lactancia from Spanish.\n\n# Active generation contract — v4.0.0\n\nThis is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.\n\nRead the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.\n\n## D — active design rules\n\n### D-01\n\nFORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.\n\n### D-02\n\nCOLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.\n\n### D-03\n\nONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.\n\n### D-04\n\nMEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.\n\n### D-05\n\nPURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.\n\n### D-06\n\nCONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.\n\n### D-07\n\nREADABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.\n\n### D-08\n\nINTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.\n\n### D-09\n\nCONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.\n\n### D-10\n\nNUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.\n\n### D-11\n\nOPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.\n\n### D-12\n\nRESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.\n\n### D-13\n\nCOHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.\n\n### D-14\n\nRADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.\n\n### D-15\n\nPURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.\n\n### D-16\n\nAUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.\n\n### D-17\n\nLETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.\n\n## W — active working principles\n\n### W-01\n\nEach candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.\n\n### W-02\n\nSolve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.\n\n### W-03\n\nLet the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.\n\n### W-04\n\nSeek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.\n\n### W-05\n\nSeek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.\n\n### W-06\n\nMake thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.\n\n### W-07\n\nDesign for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.\n\n### W-08\n\nChoose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.\n\n### W-09\n\nRequire particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.\n\n### W-10\n\nGive each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.\n\n### W-11\n\nSolve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.\n\n### W-12\n\nReduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.\n\n### W-13\n\nEstablish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.\n\n### W-14\n\nMake the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.\n\n### W-15\n\nUse reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.\n\n### W-16\n\nSeek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.\n\n### W-17\n\nDescribe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.\n\n### W-18\n\nConsider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.\n\n### W-19\n\nPreserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.\n\n### W-20\n\nPut communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.\n\n## C — active control questions\n\n### C-01\n\nWhich observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.\n\n### C-02\n\nCan this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?\n\n### C-03\n\nWhat actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?\n\n### C-04\n\nDid simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?\n\n### C-05\n\nDoes one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?\n\n### C-06\n\nWhat dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?\n\n## I — full curriculum of methods and examples\n\n### I-01 — Peter Behrens\n\nCurriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.\n\n### I-02 — A.M. Cassandre\n\nCurriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.\n\n### I-03 — Paul Rand\n\nCurriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.\n\n### I-04 — Saul Bass\n\nCurriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.\n\n### I-05 — Raymond Loewy\n\nCurriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.\n\n### I-06 — Milton Glaser\n\nCurriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.\n\n### I-07 — Ivan Chermayeff\n\nCurriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.\n\n### I-08 — Tom Geismar\n\nCurriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.\n\n### I-09 — Otl Aicher\n\nCurriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.\n\n### I-10 — Yusaku Kamekura\n\nCurriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.\n\n### I-11 — Alan Fletcher\n\nCurriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.\n\n### I-12 — Herb Lubalin\n\nCurriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.\n\n### I-13 — Walter Landor\n\nCurriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.\n\n### I-14 — Carolyn Davidson\n\nCurriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.\n\n### I-15 — Rob Janoff\n\nCurriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.\n\n### I-16 — Lindon Leader\n\nCurriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.\n\n### I-17 — Paula Scher\n\nCurriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.\n\n### I-18 — Henry Steiner\n\nThe source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.\n\n### I-19 — Michael Bierut\n\nCurriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.\n\n\n\nHISTORICAL REFERENCE MECHANISMS\n\nATTACHED REFERENCE 2: GI19 / dog & fish\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nDirect visual verification\nA dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.\n\nTransferable inspiration\n**When this is useful:** Two subjects share a contour or figure/ground boundary.\n\n**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.\n\n**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?\n\nATTACHED REFERENCE 3: ST44 / COUNTERS\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical description\nThe boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.\n\nUsable formal mechanisms\nMake the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.\n\nFit conditions\nUseful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.\n\nConflicts, risks, and scale or monochrome adaptations\nA forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.\n\nWhat not to copy\nDo not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.\n\nATTACHED REFERENCE 4: ST74 / BRACKETING\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical design description\nLet two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.\n\nUsable mechanisms\nTwo complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.\n\nFit conditions\nUseful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.\n\nConflicts, scale, monochrome, and adaptations\nGeneric ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.\n\nWhat not to copy\nDo not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.\n\nPreserve the baseline of every approved text line. A physical-looking letter may have a beveled face, but its front silhouette still follows the selected humanist sans design. No letter tilts independently or moves out of alignment.\n",
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release-pt-full-3d.json

creative/payloads/logos/release-pt-full-3d.json

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{
  "prompt": "OUTPUT STAGE: STANDALONE LOGO\nAPPROVED WORDMARK: Semana Mundial do Aleitamento Materno\n\nCRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK\n\nThe earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.\n\nRELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY\n\nThe owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.\n\nREFERENCE MAP\nfirst image: [APPROVED-PT] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.\nsecond image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.\nthird image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.\nfourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.\nEND REFERENCE MAP\n\nACTUAL IDENTITY LOCK\n\nThe first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.\n\nKeep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.\n\nEXACT LETTERING IS PART OF THE APPROVED IDENTITY\n\nUse only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.\n\nTRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT\n\nThe output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.\n\nPreserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.\n\nSINGLE-ASSET COMPOSITION AND DELIVERY\n\nReturn one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.\n\nFINAL INTERNAL COMPARISON\n\nBefore returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.\n\nThen inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.\n\nMODE: FULL 3D TRANSPARENT SCULPTURAL LOGO\n\nTransform the positive shapes of the approved logo into a substantial satin violet porcelain-like sculptural object while preserving its precise frontal identity and spelling. Use an orthographic frontal camera so the name remains easy to read and the approved proportions stay recognizable. Extrude the symbol and letters to a clear depth approximately eight percent of the symbol's height, with softly rounded bevels, visible side faces, and controlled occlusion. The result must visibly have depth, not merely a flat purple graphic with a drop shadow.\n\nThe symbol's front material is based on #8A5AA5 violet, with realistic lighter highlights and darker purple side shading from a soft upper-left studio light. The wordmark becomes coherent raised sculptural deep-plum lettering based on #4F2873, with the same lettering shapes and exact approved lines. Give the typography its own readable dimensional bevels without making counters close or letters join. Both existing small eye crescents remain deep-plum opaque inlay-like sculptural details in their original locations.\n\nAll faces, neck openings, infant openings, letter counters, spaces, and surrounding canvas remain full alpha cutouts through the object. Never fill these spaces with a porcelain plate, skin-colored face, transparent glass, background disc, plaque, connected backing sheet, or floor. Isolated eye marks and isolated letters are permitted floating parts in this logo asset. Use light on the object itself, without a cast shadow on an invented receiving surface. No plinth, stage, jewelry item, extra object, room, border, or photographic scenery.\n\nMaintain the original front-facing symbol silhouette and text arrangement. Extrusion and bevels may introduce physically meaningful side contours, but must not redraw profiles, add eyelashes, erase an accent, obscure an apostrophe, or change the approved words. The material is satin rather than mirror chrome; highlights should clarify the rounding and depth without washing out the lettering. This PNG is a full 3D-style rendered logo asset, not a deliverable mesh or an animated scene.\n\nEXACT APPROVED COPY TO PRESERVE\n\nRender precisely these 2 approved line(s), unchanged from the first reference:\nSemana Mundial\ndo Aleitamento Materno\n\nCOPY RISKS\nAleitamento is the supplied Portuguese word. Preserve the lowercase do and masculine Materno; do not borrow Lactancia from Spanish.\n\n# Active generation contract — v4.0.0\n\nThis is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.\n\nRead the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.\n\n## D — active design rules\n\n### D-01\n\nFORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.\n\n### D-02\n\nCOLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.\n\n### D-03\n\nONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.\n\n### D-04\n\nMEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.\n\n### D-05\n\nPURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.\n\n### D-06\n\nCONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.\n\n### D-07\n\nREADABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.\n\n### D-08\n\nINTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.\n\n### D-09\n\nCONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.\n\n### D-10\n\nNUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.\n\n### D-11\n\nOPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.\n\n### D-12\n\nRESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.\n\n### D-13\n\nCOHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.\n\n### D-14\n\nRADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.\n\n### D-15\n\nPURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.\n\n### D-16\n\nAUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.\n\n### D-17\n\nLETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.\n\n## W — active working principles\n\n### W-01\n\nEach candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.\n\n### W-02\n\nSolve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.\n\n### W-03\n\nLet the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.\n\n### W-04\n\nSeek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.\n\n### W-05\n\nSeek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.\n\n### W-06\n\nMake thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.\n\n### W-07\n\nDesign for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.\n\n### W-08\n\nChoose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.\n\n### W-09\n\nRequire particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.\n\n### W-10\n\nGive each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.\n\n### W-11\n\nSolve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.\n\n### W-12\n\nReduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.\n\n### W-13\n\nEstablish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.\n\n### W-14\n\nMake the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.\n\n### W-15\n\nUse reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.\n\n### W-16\n\nSeek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.\n\n### W-17\n\nDescribe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.\n\n### W-18\n\nConsider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.\n\n### W-19\n\nPreserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.\n\n### W-20\n\nPut communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.\n\n## C — active control questions\n\n### C-01\n\nWhich observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.\n\n### C-02\n\nCan this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?\n\n### C-03\n\nWhat actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?\n\n### C-04\n\nDid simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?\n\n### C-05\n\nDoes one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?\n\n### C-06\n\nWhat dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?\n\n## I — full curriculum of methods and examples\n\n### I-01 — Peter Behrens\n\nCurriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.\n\n### I-02 — A.M. Cassandre\n\nCurriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.\n\n### I-03 — Paul Rand\n\nCurriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.\n\n### I-04 — Saul Bass\n\nCurriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.\n\n### I-05 — Raymond Loewy\n\nCurriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.\n\n### I-06 — Milton Glaser\n\nCurriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.\n\n### I-07 — Ivan Chermayeff\n\nCurriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.\n\n### I-08 — Tom Geismar\n\nCurriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.\n\n### I-09 — Otl Aicher\n\nCurriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.\n\n### I-10 — Yusaku Kamekura\n\nCurriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.\n\n### I-11 — Alan Fletcher\n\nCurriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.\n\n### I-12 — Herb Lubalin\n\nCurriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.\n\n### I-13 — Walter Landor\n\nCurriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.\n\n### I-14 — Carolyn Davidson\n\nCurriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.\n\n### I-15 — Rob Janoff\n\nCurriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.\n\n### I-16 — Lindon Leader\n\nCurriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.\n\n### I-17 — Paula Scher\n\nCurriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.\n\n### I-18 — Henry Steiner\n\nThe source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.\n\n### I-19 — Michael Bierut\n\nCurriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.\n\n\n\nHISTORICAL REFERENCE MECHANISMS\n\nATTACHED REFERENCE 2: GI19 / dog & fish\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nDirect visual verification\nA dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.\n\nTransferable inspiration\n**When this is useful:** Two subjects share a contour or figure/ground boundary.\n\n**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.\n\n**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?\n\nATTACHED REFERENCE 3: ST44 / COUNTERS\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical description\nThe boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.\n\nUsable formal mechanisms\nMake the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.\n\nFit conditions\nUseful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.\n\nConflicts, risks, and scale or monochrome adaptations\nA forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.\n\nWhat not to copy\nDo not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.\n\nATTACHED REFERENCE 4: ST74 / BRACKETING\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical design description\nLet two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.\n\nUsable mechanisms\nTwo complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.\n\nFit conditions\nUseful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.\n\nConflicts, scale, monochrome, and adaptations\nGeneric ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.\n\nWhat not to copy\nDo not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.\n",
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release-pt-light.json

creative/payloads/logos/release-pt-light.json

JSON · 32,847 B

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{
  "prompt": "OUTPUT STAGE: STANDALONE LOGO\nAPPROVED WORDMARK: Semana Mundial do Aleitamento Materno\n\nCRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK\n\nThe earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.\n\nRELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY\n\nThe owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.\n\nREFERENCE MAP\nfirst image: [APPROVED-PT] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.\nsecond image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.\nthird image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.\nfourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.\nEND REFERENCE MAP\n\nACTUAL IDENTITY LOCK\n\nThe first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.\n\nKeep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.\n\nEXACT LETTERING IS PART OF THE APPROVED IDENTITY\n\nUse only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.\n\nOnly the approved name is visible. Do not print the market key, country, language, mode name, hex value, file name, numbering, annotation, subtitle, slogan, year, offer, percentage, website, registration mark, signature, brandkit title, corporate endorsement, or a reference brand. This call returns a production asset, so its workflow labels remain invisible. A checkerboard, color chip, mode badge, or white rectangle with the logo on it is not part of the logo.\n\nTRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT\n\nThe output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.\n\nPreserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.\n\nThink of the PNG as artwork that can be placed over any destination canvas. When the receiving page is dark, the transparent faces and counters reveal that dark page; when it is light, they reveal the light page. Do not bake either destination into this asset. The mode-specific colors below govern only the opaque artwork. A suggestion of a web canvas color is contextual information for contrast, never permission to render a background.\n\nSINGLE-ASSET COMPOSITION AND DELIVERY\n\nReturn one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.\n\nFINAL INTERNAL COMPARISON\n\nBefore returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.\n\nThen inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.\n\nMODE: LIGHT TRANSPARENT FLAT LOGO\n\nRetain the approved flat design. Fill the complete positive mother-and-infant symbol with sRGB #8A5AA5. Fill the entire approved text and both closed-eye crescents with sRGB #4F2873. Keep these colors uniform and opaque. Remove the source background and every pale internal negative shape to full transparency. The light mode means these dark-enough artwork colors are intended for light destination surfaces; it does not mean adding a white or lilac background inside the PNG.\n\nNo depth, bevel, extrusion, material reflection, shadow, glow, metallic finish, embossing, gradient, grain, paper texture, or lighting effect. Preserve the source's exact contours and typography. Normal antialiasing may occur at boundaries only. This is the flat light-mode master for web and layout placement, with the source palette retained in the positive artwork and genuine alpha in all empty regions.\n\nEXACT APPROVED COPY TO PRESERVE\n\nRender precisely these 2 approved line(s), unchanged from the first reference:\nSemana Mundial\ndo Aleitamento Materno\n\nCOPY RISKS\nAleitamento is the supplied Portuguese word. Preserve the lowercase do and masculine Materno; do not borrow Lactancia from Spanish.\n\n# Active generation contract — v4.0.0\n\nThis is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.\n\nRead the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.\n\n## D — active design rules\n\n### D-01\n\nFORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.\n\n### D-02\n\nCOLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.\n\n### D-03\n\nONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.\n\n### D-04\n\nMEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.\n\n### D-05\n\nPURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.\n\n### D-06\n\nCONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.\n\n### D-07\n\nREADABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.\n\n### D-08\n\nINTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.\n\n### D-09\n\nCONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.\n\n### D-10\n\nNUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.\n\n### D-11\n\nOPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.\n\n### D-12\n\nRESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.\n\n### D-13\n\nCOHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.\n\n### D-14\n\nRADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.\n\n### D-15\n\nPURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.\n\n### D-16\n\nAUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.\n\n### D-17\n\nLETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.\n\n## W — active working principles\n\n### W-01\n\nEach candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.\n\n### W-02\n\nSolve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.\n\n### W-03\n\nLet the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.\n\n### W-04\n\nSeek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.\n\n### W-05\n\nSeek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.\n\n### W-06\n\nMake thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.\n\n### W-07\n\nDesign for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.\n\n### W-08\n\nChoose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.\n\n### W-09\n\nRequire particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.\n\n### W-10\n\nGive each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.\n\n### W-11\n\nSolve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.\n\n### W-12\n\nReduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.\n\n### W-13\n\nEstablish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.\n\n### W-14\n\nMake the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.\n\n### W-15\n\nUse reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.\n\n### W-16\n\nSeek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.\n\n### W-17\n\nDescribe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.\n\n### W-18\n\nConsider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.\n\n### W-19\n\nPreserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.\n\n### W-20\n\nPut communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.\n\n## C — active control questions\n\n### C-01\n\nWhich observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.\n\n### C-02\n\nCan this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?\n\n### C-03\n\nWhat actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?\n\n### C-04\n\nDid simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?\n\n### C-05\n\nDoes one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?\n\n### C-06\n\nWhat dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?\n\n## I — full curriculum of methods and examples\n\n### I-01 — Peter Behrens\n\nCurriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.\n\n### I-02 — A.M. Cassandre\n\nCurriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.\n\n### I-03 — Paul Rand\n\nCurriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.\n\n### I-04 — Saul Bass\n\nCurriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.\n\n### I-05 — Raymond Loewy\n\nCurriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.\n\n### I-06 — Milton Glaser\n\nCurriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.\n\n### I-07 — Ivan Chermayeff\n\nCurriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.\n\n### I-08 — Tom Geismar\n\nCurriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.\n\n### I-09 — Otl Aicher\n\nCurriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.\n\n### I-10 — Yusaku Kamekura\n\nCurriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.\n\n### I-11 — Alan Fletcher\n\nCurriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.\n\n### I-12 — Herb Lubalin\n\nCurriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.\n\n### I-13 — Walter Landor\n\nCurriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.\n\n### I-14 — Carolyn Davidson\n\nCurriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.\n\n### I-15 — Rob Janoff\n\nCurriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.\n\n### I-16 — Lindon Leader\n\nCurriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.\n\n### I-17 — Paula Scher\n\nCurriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.\n\n### I-18 — Henry Steiner\n\nThe source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.\n\n### I-19 — Michael Bierut\n\nCurriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.\n\n\n\nHISTORICAL REFERENCE MECHANISMS\n\nATTACHED REFERENCE 2: GI19 / dog & fish\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nDirect visual verification\nA dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.\n\nTransferable inspiration\n**When this is useful:** Two subjects share a contour or figure/ground boundary.\n\n**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.\n\n**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?\n\nATTACHED REFERENCE 3: ST44 / COUNTERS\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical description\nThe boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.\n\nUsable formal mechanisms\nMake the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.\n\nFit conditions\nUseful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.\n\nConflicts, risks, and scale or monochrome adaptations\nA forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.\n\nWhat not to copy\nDo not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.\n\nATTACHED REFERENCE 4: ST74 / BRACKETING\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical design description\nLet two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.\n\nUsable mechanisms\nTwo complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.\n\nFit conditions\nUseful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.\n\nConflicts, scale, monochrome, and adaptations\nGeneric ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.\n\nWhat not to copy\nDo not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.\n\nPreserve the baseline of every approved text line. A physical-looking letter may have a beveled face, but its front silhouette still follows the selected humanist sans design. No letter tilts independently or moves out of alignment.\n",
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release-uk-dark.json

creative/payloads/logos/release-uk-dark.json

JSON · 32,853 B

Pokaż treść
{
  "prompt": "OUTPUT STAGE: STANDALONE LOGO\nAPPROVED WORDMARK: International Babywearing Week\n\nCRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK\n\nThe earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.\n\nRELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY\n\nThe owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.\n\nREFERENCE MAP\nfirst image: [APPROVED-UK] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.\nsecond image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.\nthird image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.\nfourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.\nEND REFERENCE MAP\n\nACTUAL IDENTITY LOCK\n\nThe first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.\n\nKeep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.\n\nEXACT LETTERING IS PART OF THE APPROVED IDENTITY\n\nUse only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.\n\nOnly the approved name is visible. Do not print the market key, country, language, mode name, hex value, file name, numbering, annotation, subtitle, slogan, year, offer, percentage, website, registration mark, signature, brandkit title, corporate endorsement, or a reference brand. This call returns a production asset, so its workflow labels remain invisible. A checkerboard, color chip, mode badge, or white rectangle with the logo on it is not part of the logo.\n\nTRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT\n\nThe output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.\n\nPreserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.\n\nThink of the PNG as artwork that can be placed over any destination canvas. When the receiving page is dark, the transparent faces and counters reveal that dark page; when it is light, they reveal the light page. Do not bake either destination into this asset. The mode-specific colors below govern only the opaque artwork. A suggestion of a web canvas color is contextual information for contrast, never permission to render a background.\n\nSINGLE-ASSET COMPOSITION AND DELIVERY\n\nReturn one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.\n\nFINAL INTERNAL COMPARISON\n\nBefore returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.\n\nThen inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.\n\nMODE: DARK TRANSPARENT FLAT LOGO\n\nPreserve the approved flat geometry and replace only its opaque artwork colors. The complete positive mother-and-infant symbol is sRGB #C9A7E1. The entire approved text and both closed-eye crescents are sRGB #F5EEFA. These lighter opaque colors are intended to contrast with a dark website canvas such as #251330. Do not draw that dark canvas, or any other canvas color, inside the PNG. Every original background and negative-space region becomes fully transparent.\n\nDo not invert the topology or fill the faces pale simply because this is dark mode. Both faces reveal the receiving page through alpha; only their two existing eye crescents remain opaque pale lilac. Letter counters reveal the receiving page as well. No depth, bevel, extrusion, grain, metallic effect, shadow, halo, glow, or gradient. This is a clean flat two-color adaptation of the approved actual logo, with every contour and line of text preserved.\n\nEXACT APPROVED COPY TO PRESERVE\n\nRender precisely these 2 approved line(s), unchanged from the first reference:\nInternational\nBabywearing Week\n\nCOPY RISKS\nBabywearing is the supplied UK term, written as one word. Do not replace it with Breastfeeding used in the EU version.\n\n# Active generation contract — v4.0.0\n\nThis is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.\n\nRead the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.\n\n## D — active design rules\n\n### D-01\n\nFORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.\n\n### D-02\n\nCOLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.\n\n### D-03\n\nONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.\n\n### D-04\n\nMEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.\n\n### D-05\n\nPURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.\n\n### D-06\n\nCONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.\n\n### D-07\n\nREADABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.\n\n### D-08\n\nINTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.\n\n### D-09\n\nCONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.\n\n### D-10\n\nNUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.\n\n### D-11\n\nOPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.\n\n### D-12\n\nRESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.\n\n### D-13\n\nCOHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.\n\n### D-14\n\nRADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.\n\n### D-15\n\nPURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.\n\n### D-16\n\nAUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.\n\n### D-17\n\nLETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.\n\n## W — active working principles\n\n### W-01\n\nEach candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.\n\n### W-02\n\nSolve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.\n\n### W-03\n\nLet the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.\n\n### W-04\n\nSeek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.\n\n### W-05\n\nSeek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.\n\n### W-06\n\nMake thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.\n\n### W-07\n\nDesign for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.\n\n### W-08\n\nChoose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.\n\n### W-09\n\nRequire particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.\n\n### W-10\n\nGive each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.\n\n### W-11\n\nSolve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.\n\n### W-12\n\nReduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.\n\n### W-13\n\nEstablish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.\n\n### W-14\n\nMake the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.\n\n### W-15\n\nUse reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.\n\n### W-16\n\nSeek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.\n\n### W-17\n\nDescribe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.\n\n### W-18\n\nConsider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.\n\n### W-19\n\nPreserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.\n\n### W-20\n\nPut communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.\n\n## C — active control questions\n\n### C-01\n\nWhich observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.\n\n### C-02\n\nCan this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?\n\n### C-03\n\nWhat actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?\n\n### C-04\n\nDid simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?\n\n### C-05\n\nDoes one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?\n\n### C-06\n\nWhat dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?\n\n## I — full curriculum of methods and examples\n\n### I-01 — Peter Behrens\n\nCurriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.\n\n### I-02 — A.M. Cassandre\n\nCurriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.\n\n### I-03 — Paul Rand\n\nCurriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.\n\n### I-04 — Saul Bass\n\nCurriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.\n\n### I-05 — Raymond Loewy\n\nCurriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.\n\n### I-06 — Milton Glaser\n\nCurriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.\n\n### I-07 — Ivan Chermayeff\n\nCurriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.\n\n### I-08 — Tom Geismar\n\nCurriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.\n\n### I-09 — Otl Aicher\n\nCurriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.\n\n### I-10 — Yusaku Kamekura\n\nCurriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.\n\n### I-11 — Alan Fletcher\n\nCurriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.\n\n### I-12 — Herb Lubalin\n\nCurriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.\n\n### I-13 — Walter Landor\n\nCurriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.\n\n### I-14 — Carolyn Davidson\n\nCurriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.\n\n### I-15 — Rob Janoff\n\nCurriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.\n\n### I-16 — Lindon Leader\n\nCurriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.\n\n### I-17 — Paula Scher\n\nCurriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.\n\n### I-18 — Henry Steiner\n\nThe source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.\n\n### I-19 — Michael Bierut\n\nCurriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.\n\n\n\nHISTORICAL REFERENCE MECHANISMS\n\nATTACHED REFERENCE 2: GI19 / dog & fish\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nDirect visual verification\nA dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.\n\nTransferable inspiration\n**When this is useful:** Two subjects share a contour or figure/ground boundary.\n\n**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.\n\n**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?\n\nATTACHED REFERENCE 3: ST44 / COUNTERS\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical description\nThe boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.\n\nUsable formal mechanisms\nMake the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.\n\nFit conditions\nUseful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.\n\nConflicts, risks, and scale or monochrome adaptations\nA forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.\n\nWhat not to copy\nDo not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.\n\nATTACHED REFERENCE 4: ST74 / BRACKETING\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical design description\nLet two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.\n\nUsable mechanisms\nTwo complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.\n\nFit conditions\nUseful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.\n\nConflicts, scale, monochrome, and adaptations\nGeneric ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.\n\nWhat not to copy\nDo not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.\n\nPreserve the baseline of every approved text line. A physical-looking letter may have a beveled face, but its front silhouette still follows the selected humanist sans design. No letter tilts independently or moves out of alignment.\n",
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release-uk-full-3d.json

creative/payloads/logos/release-uk-full-3d.json

JSON · 32,911 B

Pokaż treść
{
  "prompt": "OUTPUT STAGE: STANDALONE LOGO\nAPPROVED WORDMARK: International Babywearing Week\n\nCRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK\n\nThe earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.\n\nRELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY\n\nThe owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.\n\nREFERENCE MAP\nfirst image: [APPROVED-UK] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.\nsecond image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.\nthird image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.\nfourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.\nEND REFERENCE MAP\n\nACTUAL IDENTITY LOCK\n\nThe first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.\n\nKeep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.\n\nEXACT LETTERING IS PART OF THE APPROVED IDENTITY\n\nUse only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.\n\nTRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT\n\nThe output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.\n\nPreserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.\n\nSINGLE-ASSET COMPOSITION AND DELIVERY\n\nReturn one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.\n\nFINAL INTERNAL COMPARISON\n\nBefore returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.\n\nThen inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.\n\nMODE: FULL 3D TRANSPARENT SCULPTURAL LOGO\n\nTransform the positive shapes of the approved logo into a substantial satin violet porcelain-like sculptural object while preserving its precise frontal identity and spelling. Use an orthographic frontal camera so the name remains easy to read and the approved proportions stay recognizable. Extrude the symbol and letters to a clear depth approximately eight percent of the symbol's height, with softly rounded bevels, visible side faces, and controlled occlusion. The result must visibly have depth, not merely a flat purple graphic with a drop shadow.\n\nThe symbol's front material is based on #8A5AA5 violet, with realistic lighter highlights and darker purple side shading from a soft upper-left studio light. The wordmark becomes coherent raised sculptural deep-plum lettering based on #4F2873, with the same lettering shapes and exact approved lines. Give the typography its own readable dimensional bevels without making counters close or letters join. Both existing small eye crescents remain deep-plum opaque inlay-like sculptural details in their original locations.\n\nAll faces, neck openings, infant openings, letter counters, spaces, and surrounding canvas remain full alpha cutouts through the object. Never fill these spaces with a porcelain plate, skin-colored face, transparent glass, background disc, plaque, connected backing sheet, or floor. Isolated eye marks and isolated letters are permitted floating parts in this logo asset. Use light on the object itself, without a cast shadow on an invented receiving surface. No plinth, stage, jewelry item, extra object, room, border, or photographic scenery.\n\nMaintain the original front-facing symbol silhouette and text arrangement. Extrusion and bevels may introduce physically meaningful side contours, but must not redraw profiles, add eyelashes, erase an accent, obscure an apostrophe, or change the approved words. The material is satin rather than mirror chrome; highlights should clarify the rounding and depth without washing out the lettering. This PNG is a full 3D-style rendered logo asset, not a deliverable mesh or an animated scene.\n\nEXACT APPROVED COPY TO PRESERVE\n\nRender precisely these 2 approved line(s), unchanged from the first reference:\nInternational\nBabywearing Week\n\nCOPY RISKS\nBabywearing is the supplied UK term, written as one word. Do not replace it with Breastfeeding used in the EU version.\n\n# Active generation contract — v4.0.0\n\nThis is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.\n\nRead the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.\n\n## D — active design rules\n\n### D-01\n\nFORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.\n\n### D-02\n\nCOLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.\n\n### D-03\n\nONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.\n\n### D-04\n\nMEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.\n\n### D-05\n\nPURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.\n\n### D-06\n\nCONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.\n\n### D-07\n\nREADABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.\n\n### D-08\n\nINTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.\n\n### D-09\n\nCONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.\n\n### D-10\n\nNUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.\n\n### D-11\n\nOPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.\n\n### D-12\n\nRESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.\n\n### D-13\n\nCOHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.\n\n### D-14\n\nRADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.\n\n### D-15\n\nPURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.\n\n### D-16\n\nAUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.\n\n### D-17\n\nLETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.\n\n## W — active working principles\n\n### W-01\n\nEach candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.\n\n### W-02\n\nSolve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.\n\n### W-03\n\nLet the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.\n\n### W-04\n\nSeek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.\n\n### W-05\n\nSeek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.\n\n### W-06\n\nMake thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.\n\n### W-07\n\nDesign for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.\n\n### W-08\n\nChoose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.\n\n### W-09\n\nRequire particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.\n\n### W-10\n\nGive each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.\n\n### W-11\n\nSolve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.\n\n### W-12\n\nReduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.\n\n### W-13\n\nEstablish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.\n\n### W-14\n\nMake the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.\n\n### W-15\n\nUse reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.\n\n### W-16\n\nSeek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.\n\n### W-17\n\nDescribe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.\n\n### W-18\n\nConsider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.\n\n### W-19\n\nPreserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.\n\n### W-20\n\nPut communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.\n\n## C — active control questions\n\n### C-01\n\nWhich observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.\n\n### C-02\n\nCan this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?\n\n### C-03\n\nWhat actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?\n\n### C-04\n\nDid simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?\n\n### C-05\n\nDoes one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?\n\n### C-06\n\nWhat dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?\n\n## I — full curriculum of methods and examples\n\n### I-01 — Peter Behrens\n\nCurriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.\n\n### I-02 — A.M. Cassandre\n\nCurriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.\n\n### I-03 — Paul Rand\n\nCurriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.\n\n### I-04 — Saul Bass\n\nCurriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.\n\n### I-05 — Raymond Loewy\n\nCurriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.\n\n### I-06 — Milton Glaser\n\nCurriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.\n\n### I-07 — Ivan Chermayeff\n\nCurriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.\n\n### I-08 — Tom Geismar\n\nCurriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.\n\n### I-09 — Otl Aicher\n\nCurriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.\n\n### I-10 — Yusaku Kamekura\n\nCurriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.\n\n### I-11 — Alan Fletcher\n\nCurriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.\n\n### I-12 — Herb Lubalin\n\nCurriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.\n\n### I-13 — Walter Landor\n\nCurriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.\n\n### I-14 — Carolyn Davidson\n\nCurriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.\n\n### I-15 — Rob Janoff\n\nCurriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.\n\n### I-16 — Lindon Leader\n\nCurriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.\n\n### I-17 — Paula Scher\n\nCurriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.\n\n### I-18 — Henry Steiner\n\nThe source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.\n\n### I-19 — Michael Bierut\n\nCurriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.\n\n\n\nHISTORICAL REFERENCE MECHANISMS\n\nATTACHED REFERENCE 2: GI19 / dog & fish\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nDirect visual verification\nA dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.\n\nTransferable inspiration\n**When this is useful:** Two subjects share a contour or figure/ground boundary.\n\n**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.\n\n**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?\n\nATTACHED REFERENCE 3: ST44 / COUNTERS\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical description\nThe boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.\n\nUsable formal mechanisms\nMake the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.\n\nFit conditions\nUseful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.\n\nConflicts, risks, and scale or monochrome adaptations\nA forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.\n\nWhat not to copy\nDo not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.\n\nATTACHED REFERENCE 4: ST74 / BRACKETING\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical design description\nLet two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.\n\nUsable mechanisms\nTwo complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.\n\nFit conditions\nUseful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.\n\nConflicts, scale, monochrome, and adaptations\nGeneric ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.\n\nWhat not to copy\nDo not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.\n",
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release-uk-light.json

creative/payloads/logos/release-uk-light.json

JSON · 32,929 B

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{
  "prompt": "OUTPUT STAGE: STANDALONE LOGO\nAPPROVED WORDMARK: International Babywearing Week\n\nCRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK\n\nThe earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.\n\nRELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY\n\nThe owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.\n\nREFERENCE MAP\nfirst image: [APPROVED-UK] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.\nsecond image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.\nthird image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.\nfourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.\nEND REFERENCE MAP\n\nACTUAL IDENTITY LOCK\n\nThe first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.\n\nKeep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.\n\nEXACT LETTERING IS PART OF THE APPROVED IDENTITY\n\nUse only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.\n\nOnly the approved name is visible. Do not print the market key, country, language, mode name, hex value, file name, numbering, annotation, subtitle, slogan, year, offer, percentage, website, registration mark, signature, brandkit title, corporate endorsement, or a reference brand. This call returns a production asset, so its workflow labels remain invisible. A checkerboard, color chip, mode badge, or white rectangle with the logo on it is not part of the logo.\n\nTRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT\n\nThe output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.\n\nPreserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.\n\nThink of the PNG as artwork that can be placed over any destination canvas. When the receiving page is dark, the transparent faces and counters reveal that dark page; when it is light, they reveal the light page. Do not bake either destination into this asset. The mode-specific colors below govern only the opaque artwork. A suggestion of a web canvas color is contextual information for contrast, never permission to render a background.\n\nSINGLE-ASSET COMPOSITION AND DELIVERY\n\nReturn one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.\n\nFINAL INTERNAL COMPARISON\n\nBefore returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.\n\nThen inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.\n\nMODE: LIGHT TRANSPARENT FLAT LOGO\n\nRetain the approved flat design. Fill the complete positive mother-and-infant symbol with sRGB #8A5AA5. Fill the entire approved text and both closed-eye crescents with sRGB #4F2873. Keep these colors uniform and opaque. Remove the source background and every pale internal negative shape to full transparency. The light mode means these dark-enough artwork colors are intended for light destination surfaces; it does not mean adding a white or lilac background inside the PNG.\n\nNo depth, bevel, extrusion, material reflection, shadow, glow, metallic finish, embossing, gradient, grain, paper texture, or lighting effect. Preserve the source's exact contours and typography. Normal antialiasing may occur at boundaries only. This is the flat light-mode master for web and layout placement, with the source palette retained in the positive artwork and genuine alpha in all empty regions.\n\nEXACT APPROVED COPY TO PRESERVE\n\nRender precisely these 2 approved line(s), unchanged from the first reference:\nInternational\nBabywearing Week\n\nCOPY RISKS\nBabywearing is the supplied UK term, written as one word. Do not replace it with Breastfeeding used in the EU version.\n\n# Active generation contract — v4.0.0\n\nThis is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.\n\nRead the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.\n\n## D — active design rules\n\n### D-01\n\nFORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.\n\n### D-02\n\nCOLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.\n\n### D-03\n\nONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.\n\n### D-04\n\nMEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.\n\n### D-05\n\nPURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.\n\n### D-06\n\nCONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.\n\n### D-07\n\nREADABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.\n\n### D-08\n\nINTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.\n\n### D-09\n\nCONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.\n\n### D-10\n\nNUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.\n\n### D-11\n\nOPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.\n\n### D-12\n\nRESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.\n\n### D-13\n\nCOHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.\n\n### D-14\n\nRADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.\n\n### D-15\n\nPURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.\n\n### D-16\n\nAUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.\n\n### D-17\n\nLETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.\n\n## W — active working principles\n\n### W-01\n\nEach candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.\n\n### W-02\n\nSolve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.\n\n### W-03\n\nLet the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.\n\n### W-04\n\nSeek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.\n\n### W-05\n\nSeek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.\n\n### W-06\n\nMake thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.\n\n### W-07\n\nDesign for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.\n\n### W-08\n\nChoose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.\n\n### W-09\n\nRequire particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.\n\n### W-10\n\nGive each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.\n\n### W-11\n\nSolve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.\n\n### W-12\n\nReduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.\n\n### W-13\n\nEstablish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.\n\n### W-14\n\nMake the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.\n\n### W-15\n\nUse reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.\n\n### W-16\n\nSeek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.\n\n### W-17\n\nDescribe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.\n\n### W-18\n\nConsider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.\n\n### W-19\n\nPreserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.\n\n### W-20\n\nPut communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.\n\n## C — active control questions\n\n### C-01\n\nWhich observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.\n\n### C-02\n\nCan this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?\n\n### C-03\n\nWhat actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?\n\n### C-04\n\nDid simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?\n\n### C-05\n\nDoes one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?\n\n### C-06\n\nWhat dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?\n\n## I — full curriculum of methods and examples\n\n### I-01 — Peter Behrens\n\nCurriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.\n\n### I-02 — A.M. Cassandre\n\nCurriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.\n\n### I-03 — Paul Rand\n\nCurriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.\n\n### I-04 — Saul Bass\n\nCurriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.\n\n### I-05 — Raymond Loewy\n\nCurriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.\n\n### I-06 — Milton Glaser\n\nCurriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.\n\n### I-07 — Ivan Chermayeff\n\nCurriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.\n\n### I-08 — Tom Geismar\n\nCurriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.\n\n### I-09 — Otl Aicher\n\nCurriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.\n\n### I-10 — Yusaku Kamekura\n\nCurriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.\n\n### I-11 — Alan Fletcher\n\nCurriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.\n\n### I-12 — Herb Lubalin\n\nCurriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.\n\n### I-13 — Walter Landor\n\nCurriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.\n\n### I-14 — Carolyn Davidson\n\nCurriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.\n\n### I-15 — Rob Janoff\n\nCurriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.\n\n### I-16 — Lindon Leader\n\nCurriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.\n\n### I-17 — Paula Scher\n\nCurriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.\n\n### I-18 — Henry Steiner\n\nThe source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.\n\n### I-19 — Michael Bierut\n\nCurriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.\n\n\n\nHISTORICAL REFERENCE MECHANISMS\n\nATTACHED REFERENCE 2: GI19 / dog & fish\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nDirect visual verification\nA dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.\n\nTransferable inspiration\n**When this is useful:** Two subjects share a contour or figure/ground boundary.\n\n**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.\n\n**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?\n\nATTACHED REFERENCE 3: ST44 / COUNTERS\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical description\nThe boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.\n\nUsable formal mechanisms\nMake the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.\n\nFit conditions\nUseful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.\n\nConflicts, risks, and scale or monochrome adaptations\nA forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.\n\nWhat not to copy\nDo not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.\n\nATTACHED REFERENCE 4: ST74 / BRACKETING\nThese descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.\n\nCanonical design description\nLet two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.\n\nUsable mechanisms\nTwo complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.\n\nFit conditions\nUseful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.\n\nConflicts, scale, monochrome, and adaptations\nGeneric ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.\n\nWhat not to copy\nDo not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.\n\nTransparent clear space must be continuous all the way to the outer canvas edges. No faint pale rectangle, edge stroke, vignette, or residual source background should survive around the artwork.\n\nThe final file contains exactly one logo and no explanatory or comparative content. All production instructions stay outside the visible asset.\n",
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prompt-recipes.md

creative/prompt-recipes.md

MD · 2,288 B

Pokaż treść
# Reusable generation modules

## Shared campaign module

Attach the approved localized source and relevant transparent master as identity references. Preserve the cradling/embrace symbol, negative spaces, wordmark spelling and approved line-break hierarchy. Use violet #8A5AA5, plum #4F2873, pale lilac #F5EEFA; dark context uses #251330, lavender #C9A7E1 and pale text. Reference colors name the target family; natural highlights and antialiasing vary. Do not insert an offer, deadline, gift or domain unless the exact verified scoped tuple is supplied.

## Dimensional type

Softly rounded violet material with a substantial frontal face, short coherent sidewall and restrained highlight. One light direction. Each letter face stays complete and legible; no motif crosses critical counters or accents. Keep German double l, Polish diacritics and French/Italian apostrophes exact. Do not rebuild the corporate MILKIES mark in 3D.

## Documentary photograph

A believable quiet moment of closeness in a real domestic setting. Natural skin, plausible anatomy, gently directional daylight, moderate contrast, subtle depth and textile texture. If a real product is requested, attach its verified reference packet and obey its dimensions, chain, metal and inclusion. No invented jewellery or product efficacy. If no product packet is attached, omit jewellery and avoid product claims.

## Portrait ad

Generate the complete requested 9:16 frame natively. All communication including letter depth, UI and logos fits the invisible vertically centred full-width square with 6% inner padding; keep unlettered scene outside it. Do not draw the safety square or convert the whole image into a panel. Verify actual output dimensions and positions after generation. No automatic outpainting or triage pipeline is implied.

## Website banner

Use the channel-specific desktop 16:9 or mobile 1:1 recipe and campaign logo. One or two purposeful information containers only. Omit separate CTA chip, corporate logo, proof badges and artificial urgency. The surrounding site supplies interaction. If terms are unknown, create an offer-neutral scene.

## Photo-only request

Remove campaign lettering and interface from the photo prompt. Apply only the photographic world and verified product constraints.

board-01.txt

creative/prompts/board-01.txt

TXT · 2,589 B

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Create one complete professional square 1:1 brandkit foundation board, native image composition, for the approved MILKIES campaign Weltstillwoche. This is board 01: the campaign world. Reference image 1 is the approved campaign identity; preserve its exact maternal enclosing silhouette, two negative-space face profiles, both closed-eye crescents and rounded wordmark. Use that logo once as a clean modest identity signature at upper left; it stays flat. No other parent-brand mark is requested on this board.
Art direction: “held light” — soft protective curved forms, satin violet porcelain, lilac linen, a generous expanse of very pale lavender. Adult, warm and modern, no childish decoration. Tight palette targets: symbol violet #8A5AA5, plum #4F2873, pale lavender #F5EEFA; lilac highlight #C9A7E1, deepest plum #251330. Natural skin remains neutral. Build a striking editorial composition with a large quiet left/upper zone for dominant sculptural campaign copy and a candid cropped photograph on the lower-right: an adult mother in a simple off-white shirt holding her sleeping infant close against her chest, heads touching, natural hands supporting the baby, soft side window daylight, authentic unretouched skin, intimate everyday moment rather than posed catalog smile. This is generated illustrative photography, no claim of real customer.
The dominant headline uses large rounded sans letters made of substantial satin violet porcelain: crisp faces, clearly visible darker extruded sidewalls, soft rounded bevels, upper-left illumination and believable self-shadow. Headline is two lines “Nähe,” then “die bleibt.” Every character including umlaut and punctuation fully readable. A single broad open sculptural embracing arc flows behind the photograph and around the outer headline edge without covering letters. Two small tactile material samples at bottom-left, lilac woven fabric and violet porcelain; three adjacent unlabeled color discs. The layout should feel like an art-directed mood manifesto rather than a rigid dashboard or a contact sheet.
Exact visible copy inventory, no other text: small board number “01”; title “Kampagnenwelt”; identity wordmark “Weltstillwoche” once as part of supplied logo; main headline “Nähe, die bleibt.” with specified two lines; small material labels “Porzellan” and “Leinen”. All visible typography is natively generated. Large useful lettering, generous safe margins, no discounts, dates, percentages, URLs, product renderings, jewelry, CTA, extra badges or slogans. Native square output.

board-02.txt

creative/prompts/board-02.txt

TXT · 2,059 B

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Create one complete native square 1:1 professional brandkit board for approved Weltstillwoche campaign. Reference1 is identity authority: preserve enclosing mother nursing infant silhouette, two negative-space face profiles, two crescent closed eyes and rounded wordmark. Reference2 is the edition visual anchor, a style guide only: satin violet porcelain with visible sidewalls and rounded bevels, lilac linen, broad open embracing arcs, pale lavender surfaces, natural neutral daylight and adult emotional warmth. Fixed color targets #8A5AA5 violet, #4F2873 plum, #F5EEFA pale lavender, #C9A7E1 lilac, #251330 deepest plum. Exact native raster appearance may have material shading. Spacious art-directed editorial layout, legible useful text sizes, every required word unobscured. No invented parent logo, jewelry, offers, dates, percentages, URLs or extra copy. Generate all layout and lettering in imagegen itself. Board02: logo system. Create a large top half split into two balanced logo specimens: original approved flat violet/plum logo on pale lavender left, and lilac symbol with pale lavender wordmark and eyes on deepest plum right. Mother/baby inner spaces match their field in these demonstrations. Each complete lockup shows the word Weltstillwoche exactly once. Below, a generous isolated flat violet symbol without wordmark at left, and a clearly substantial satin violet porcelain 3D campaign lockup at right, with front faces, rounded bevels and visible sidewalls. Preserve silhouette and closed eyes across all instances. Each region has a single quiet caption. A small three-disc palette strip under title can be unlabeled. Total exact visible copy: number “02”; title “Logo-System”; section captions “Light”, “Dark”, “Symbol”, “3D”; word “Weltstillwoche” in three logo lockups only. No additional prose, measurements, fictitious vector grids or parent brand mark. The isolated symbol takes half the lower width; 3D lockup remains readable. This is a polished identity usage sheet, not four concept proposals.

board-03.txt

creative/prompts/board-03.txt

TXT · 2,102 B

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Create one complete native square 1:1 professional brandkit board for approved Weltstillwoche campaign. Reference1 is identity authority: preserve enclosing mother nursing infant silhouette, two negative-space face profiles, two crescent closed eyes and rounded wordmark. Reference2 is the edition visual anchor, a style guide only: satin violet porcelain with visible sidewalls and rounded bevels, lilac linen, broad open embracing arcs, pale lavender surfaces, natural neutral daylight and adult emotional warmth. Fixed color targets #8A5AA5 violet, #4F2873 plum, #F5EEFA pale lavender, #C9A7E1 lilac, #251330 deepest plum. Exact native raster appearance may have material shading. Spacious art-directed editorial layout, legible useful text sizes, every required word unobscured. No invented parent logo, jewelry, offers, dates, percentages, URLs or extra copy. Generate all layout and lettering in imagegen itself. Board03: color and typography. Beautiful editorial information board, flat crisp text, no photography. At top number “03” and title “Farbe & Typografie”. Five wide adjacent simple color swatches across upperthird with each exacthex label below: “#8A5AA5”, “#4F2873”, “#F5EEFA”, “#C9A7E1”, “#251330”, matching target colors in sameorder. The lowerleft is large flat rounded sans typographic specimen area: label “WEB”; font family line “Nunito Sans”; generous heading “Nähe, die bleibt.”; specimen one line “Aa Bb Cc · 123”. The lowerright is separate creative specimen area: label “CREATIVE”; substantial sculptural porcelain word “Nähe” with deep violet face and visible sides; smallcaption “Porzellan in 3D”. At bottom a narrow darkplum strip displays small approved complete logo centered with lilac symbol and pale wordmark “Weltstillwoche”. Use helpful breathing room between families, exact spellings including diaeresis and hex values. Treat font family as intended WEB implementation label, native typography need not claim exactfontmetrics. Do notadd weights, fillerparagraphs, labels or text beyond inventory.

board-04.txt

creative/prompts/board-04.txt

TXT · 2,348 B

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Create one complete native square 1:1 professional brandkit board for approved Weltstillwoche campaign. Reference1 is identity authority: preserve enclosing mother nursing infant silhouette, two negative-space face profiles, two crescent closed eyes and rounded wordmark. Reference2 is the edition visual anchor, a style guide only: satin violet porcelain with visible sidewalls and rounded bevels, lilac linen, broad open embracing arcs, pale lavender surfaces, natural neutral daylight and adult emotional warmth. Fixed color targets #8A5AA5 violet, #4F2873 plum, #F5EEFA pale lavender, #C9A7E1 lilac, #251330 deepest plum. Exact native raster appearance may have material shading. Spacious art-directed editorial layout, legible useful text sizes, every required word unobscured. No invented parent logo, jewelry, offers, dates, percentages, URLs or extra copy. Generate all layout and lettering in imagegen itself. Board04: photographic world. An elegant editorial photo direction board with three large genuinely different documentary moments and one narrow lilac textile strip. No jewelry or catalogue product is requested; this board establishes human light, gesture and material. One dominant upper-left candid side-lit photograph: adult mother adjusting her infant's soft knit sleeve beside a window, baby's hand touching mother's thumb, natural imperfect lived-in textures. Second right-hand taller close documentary frame: adult parent carrying an infant safely against their chest in a properly supported fabric wrap, one hand under baby, mouth and nose unobstructed, baby's head nearparentface, soft greenblurredoutdoors with neutral daylight and subtle lilac clothing. Third bottom-left macro of baby's tiny hand naturally grasping adult indexfinger against woven offwhite cotton, anatomically correct separatefingers. Inventnewsubjects, no copyingpeoplefromanchor. Realistic neutral skintones, spontaneous action, gentle depthoffield, no studio posing, filters or orange cast. Violet porcelain curved dividers frame but do not intrude into faces. Tiny complete campaign identity signature in a quiet header. Exact visible text only: “04”, “Bildwelt”, “Weltstillwoche” in logo, “Tageslicht”, “Nähe”, “Berührung”. Each threephoto has one ofthelastthreelabels. No products, claims, testimonials or other type.

board-05.txt

creative/prompts/board-05.txt

TXT · 2,192 B

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Create one complete native square 1:1 professional brandkit board for approved Weltstillwoche campaign. Reference1 is identity authority: preserve enclosing mother nursing infant silhouette, two negative-space face profiles, two crescent closed eyes and rounded wordmark. Reference2 is the edition visual anchor, a style guide only: satin violet porcelain with visible sidewalls and rounded bevels, lilac linen, broad open embracing arcs, pale lavender surfaces, natural neutral daylight and adult emotional warmth. Fixed color targets #8A5AA5 violet, #4F2873 plum, #F5EEFA pale lavender, #C9A7E1 lilac, #251330 deepest plum. Exact native raster appearance may have material shading. Spacious art-directed editorial layout, legible useful text sizes, every required word unobscured. No invented parent logo, jewelry, offers, dates, percentages, URLs or extra copy. Generate all layout and lettering in imagegen itself. Board05: expressive campaign typography and practical webcontrols. Large editorial square composition. Top title “Typo, Motive & UI” with number “05”. Upperleft hero oversized two-line sculptural satin violet porcelain message “Nähe,” then “die bleibt.”, substantially extruded rounded letters, distinct face and dark sidewall, coherent upperleft windowlight; one broad curved porcelain arc passes behind the letters without coveringanyglyph. Upperright a smallflatapprovedcompletecampaignlogo,wordmark“Weltstillwoche”. Lowerleft showcase only three clean flat WEB components on lavender surface: dark plum filled capsule button “Entdecken” with a simple rightarrowicon; light outlined capsule “Mehr erfahren”; two-state theme selector labels “Light” and “Dark” with Lightvisiblyselected. No actualdestinationclaimed, these are designexamples. Lower right a simplevioletline motif family: three open embracing curves, one heartoutline, nofaces, noextra lettering. Separating captions “CREATIVE” above dimensionaltype and “WEB” above controls. EnoughpaddingandconsistentsimpleUIshapes, intentionally keep functionalWEBlabels flat crisp. No charts, progress, counters, reviews or unrelatedwidgets. Exacttextonlyinventoryprovided.

board-06.txt

creative/prompts/board-06.txt

TXT · 3,586 B

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Design the social and paid campaign family board. Top right flat header “06” and “Soziale Medien”. Two generous campaign specimens: a large square feed creative on the left; a tall 9:16 portrait creative on the right. Label them beneath in large flat type “Quadrat” and “Hochformat”. They must clearly reflow, not stretch the same layout. Both contain one flat approved symbol/wordmark, one violet porcelain dimensional “Nähe, die bleibt.” and one clean rounded violet CTA “Entdecken”. Left square: typographic still life, oversized sculptural embracing arc crossing behind type, a close-up parent hand safely holding an infant's small hand in the lower corner. Right portrait: candid clothed mother cuddling infant, shown from the waist up against lilac linen. All portrait communication—logo, headline, CTA—must fit within the vertically centered square band of that portrait; top/bottom extensions may contain only photography or soft material atmosphere. Give that central text enough readable width. Avoid cropping any letters. Outer board background pale lavender; keep lower-left breathing room with two small text-free material specimens (linen and porcelain) that unite the family. No platform iconography, no UI statistics.

REFERENCE AUTHORITY: Image 1 is the approved campaign identity master. Image 2 is the visual-world and editorial-style anchor only. Preserve the supplied campaign logo 100% true to the original in every detail: a single embracing violet maternal silhouette enclosing two pale negative-space profiles, exactly two closed-eye crescents, mother above left and baby below right; symbol above the rounded literal wordmark Weltstillwoche. No mirroring, missing eye, altered anatomy, new letterform spelling or extra icon. The campaign logo remains flat. The expressive headline is a separate 3D object, never the wordmark.
LOCK: Warm adult modern and rounded sans-only. Satin violet porcelain 3D with substantial visible sidewalls, soft rounded bevels, plausible contact shadows, not metallic chrome. Pale lavender paper, lilac linen, broad open embracing arcs, neutral natural daylight skin, intimate candid parent–infant photography. Color targets violet #8A5AA5, plum #4F2873, pale lavender #F5EEFA, lilac #C9A7E1, deepest plum #251330. Large editorial breathing room. Exact headline “Nähe, die bleibt.” including two dots of ä, comma, final period. Flat utility typography resembles Nunito Sans; no claim of exact generated font reproduction.
Create one complete native square 1:1 brandbook image, all of its imagery, layout, lettering and UI generated together. Straight-on editorial board, no photographed whole paper sheet, no external overlays, no watermarks. Actual photos look documentary and physically plausible, subtle pores, gentle daylight, fully clothed parent and infant with natural hands. No jewelry or invented products. No dates, discounts, prices, gifts, percentage signs, live destinations, URLs, brand claims, testimonials, fake metrics or incidental text. No fabricated MILKIES/DIY logo; where those branch names are allowed, use plain utility text as labels only. Never use the original anchor headline as a mere pasted image: compose a new whole board for its specific role. Keep every letter face clearly visible and every text line wide enough. Only print the exact copy inventory for this board; no spontaneous microtext.

EXACT COPY INVENTORY (repetitions only as explicitly described): "06", "Soziale Medien", "Weltstillwoche", "Nähe, die bleibt.", "Entdecken", "Quadrat", "Hochformat".

board-07-attempt3.txt

creative/prompts/board-07-attempt3.txt

TXT · 4,565 B

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Create a COMPLETE native square 1:1 professional brandbook board about a website banner system. TWO rows of specimens, each with one landscape and one SQUARE. This is a new whole-board rendering with exact shape discipline.
The canvas is square; target 1254 x 1254 or corresponding native square size. Use these RELATIVE panel boxes, scaled with canvas: desktop upper [left 0.04, top 0.245, width 0.53, height 0.298125]; mobile upper [left 0.64, top 0.245, width 0.298125, height 0.298125]. Desktop lower [left 0.04, top 0.665, width 0.53, height 0.298125]; mobile lower [left 0.64, top 0.665, width 0.298125, height 0.298125]. This creates truly 16:9 wide specimens and truly square mobile specimens of equal HEIGHT. Preserve their shape boundaries, without extending them vertically. Do not reproduce tall smartphone rectangles. No device frames. Simple axis-aligned artwork rectangles.
Outside specimens: header top-left is approved flat campaign logo+wordmark, top-right “07” over “Website”. Upper row label “MILKIES” (plain text) at y.17, lower row label “DIY by MILKIES” (plain text) at y.59. Column labels “Desktop” over wide panels and “Mobil” over square panels. Each banner contains an exact FLAT “Weltstillwoche” near its upper left, and separate violet porcelain 3D “Nähe, die bleibt.”. No need to repeat maternal symbol within small specimens; the outer header carries it clearly. Each banner MUST contain the campaign wordmark. No CTA, NO Entdecken, no button shapes whatsoever in the website banners.
Upper branch images: mother snuggling sleeping infant; lower branch images: adult hands gently folding lilac linen beside cream infant cardigan, no kits, tools, jewelry or packaging. In wide panels headlines and wordmark occupy left, photography right. In square panels wordmark top, headline central, photo lower/right. Typography must be kept readable by concise copy, not compressed lettering. Preserve the square mobile panel boundaries even if less photo is visible. All photos and text live within their own rectangular specimen boundaries.
REFERENCE AUTHORITY: Image 1 is the approved campaign identity master. Image 2 is the visual-world and editorial-style anchor only. Preserve the supplied campaign logo 100% true to the original in every detail: a single embracing violet maternal silhouette enclosing two pale negative-space profiles, exactly two closed-eye crescents, mother above left and baby below right; symbol above the rounded literal wordmark Weltstillwoche. No mirroring, missing eye, altered anatomy, new letterform spelling or extra icon. The campaign logo remains flat. The expressive headline is a separate 3D object, never the wordmark.
LOCK: Warm adult modern and rounded sans-only. Satin violet porcelain 3D with substantial visible sidewalls, soft rounded bevels, plausible contact shadows, not metallic chrome. Pale lavender paper, lilac linen, broad open embracing arcs, neutral natural daylight skin, intimate candid parent–infant photography. Color targets violet #8A5AA5, plum #4F2873, pale lavender #F5EEFA, lilac #C9A7E1, deepest plum #251330. Large editorial breathing room. Exact headline “Nähe, die bleibt.” including two dots of ä, comma, final period. Flat utility typography resembles Nunito Sans; no claim of exact generated font reproduction.
Create one complete native square 1:1 brandbook image, all of its imagery, layout, lettering and UI generated together. Straight-on editorial board, no photographed whole paper sheet, no external overlays, no watermarks. Actual photos look documentary and physically plausible, subtle pores, gentle daylight, fully clothed parent and infant with natural hands. No jewelry or invented products. No dates, discounts, prices, gifts, percentage signs, live destinations, URLs, brand claims, testimonials, fake metrics or incidental text. No fabricated MILKIES/DIY logo; where those branch names are allowed, use plain utility text as labels only. Never use the original anchor headline as a mere pasted image: compose a new whole board for its specific role. Keep every letter face clearly visible and every text line wide enough. Only print the exact copy inventory for this board; no spontaneous microtext.
Exact visible strings only: “07”, “Website”, “Weltstillwoche” (five occurrences, header plus four specimens), “MILKIES”, “DIY by MILKIES”, “Desktop” (two), “Mobil” (two), “Nähe, die bleibt.” (four). No numbers representing proportions printed. All text fully legible and uncropped.

board-08.txt

creative/prompts/board-08.txt

TXT · 3,681 B

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Create the newsletter module system as one very readable editorial board. Outer top right flat header “08” and “Newsletter”. Display one dominant front-on newsletter specimen on pale lavender with generous inset margins, about 80 percent of the board width; do not surround it with unreadable thumbnails. At its top show the flat approved campaign symbol and wordmark “Weltstillwoche”. Then a large hero module: candid clothed mother snuggling a sleeping infant on the right, broad violet porcelain embrace arc and “Nähe, die bleibt.” in substantial rounded purple 3D on the left; bright neutral skin against the purple world. Under the hero, a separate ivory/lavender live-text-intent module uses flat utility type, large exact heading “Ein Moment für uns.” and large body sentence “Kleine Momente. Große Nähe.” Put a single pill button “Entdecken” beneath. Add a separate text-free editorial story module at the very bottom showing lilac linen and parent's hand on baby's clothed back, a calm crop rather than another repeated hero. Strong clear modular boundaries, true readable flat body copy, useful whitespace. Show creative image versus live-text anatomy through layout without printing technical jargon. No inbox chrome, addresses, subscription/legal footer inventions or tiny filler text.

REFERENCE AUTHORITY: Image 1 is the approved campaign identity master. Image 2 is the visual-world and editorial-style anchor only. Preserve the supplied campaign logo 100% true to the original in every detail: a single embracing violet maternal silhouette enclosing two pale negative-space profiles, exactly two closed-eye crescents, mother above left and baby below right; symbol above the rounded literal wordmark Weltstillwoche. No mirroring, missing eye, altered anatomy, new letterform spelling or extra icon. The campaign logo remains flat. The expressive headline is a separate 3D object, never the wordmark.
LOCK: Warm adult modern and rounded sans-only. Satin violet porcelain 3D with substantial visible sidewalls, soft rounded bevels, plausible contact shadows, not metallic chrome. Pale lavender paper, lilac linen, broad open embracing arcs, neutral natural daylight skin, intimate candid parent–infant photography. Color targets violet #8A5AA5, plum #4F2873, pale lavender #F5EEFA, lilac #C9A7E1, deepest plum #251330. Large editorial breathing room. Exact headline “Nähe, die bleibt.” including two dots of ä, comma, final period. Flat utility typography resembles Nunito Sans; no claim of exact generated font reproduction.
Create one complete native square 1:1 brandbook image, all of its imagery, layout, lettering and UI generated together. Straight-on editorial board, no photographed whole paper sheet, no external overlays, no watermarks. Actual photos look documentary and physically plausible, subtle pores, gentle daylight, fully clothed parent and infant with natural hands. No jewelry or invented products. No dates, discounts, prices, gifts, percentage signs, live destinations, URLs, brand claims, testimonials, fake metrics or incidental text. No fabricated MILKIES/DIY logo; where those branch names are allowed, use plain utility text as labels only. Never use the original anchor headline as a mere pasted image: compose a new whole board for its specific role. Keep every letter face clearly visible and every text line wide enough. Only print the exact copy inventory for this board; no spontaneous microtext.

EXACT COPY INVENTORY (repetitions only as explicitly described): "08", "Newsletter", "Weltstillwoche", "Nähe, die bleibt.", "Ein Moment für uns.", "Kleine Momente. Große Nähe.", "Entdecken".

board-09.txt

creative/prompts/board-09.txt

TXT · 3,611 B

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Design a light-use front/back print insert system. Outer board header top right “09” and “Print”; quiet pale lavender outer background. Two large separate front-on insert card specimens arranged side by side with a slight vertical stagger, no perspective rotation, never overlapping the lettering. Labels underneath are “Vorderseite” and “Rückseite”. The front card uses spacious pale lavender paper, the approved flat violet symbol and “Weltstillwoche” at top, a large portrait-format composition with “Nähe, die bleibt.” as beautiful purple satin-porcelain 3D artwork, a cropped text-free lilac linen motif along bottom. The back card is warm nearly-white paper, carries a single small but legible flat approved symbol and wordmark “Weltstillwoche”, then the flat large utility heading “Ein Moment für uns.”, and an intimate text-free parent–infant photo at bottom. Clear broad paper margins and calm light backgrounds suited to economical print. No contact information, address, QR code, URL, barcode, trim marks, print measurements, fake legal wording or discount. Depict useful front/back identity concepts, not a stationery assortment. All cards have realistic but subtle paper edge/shadow without turning into photographed sheet mockups.

REFERENCE AUTHORITY: Image 1 is the approved campaign identity master. Image 2 is the visual-world and editorial-style anchor only. Preserve the supplied campaign logo 100% true to the original in every detail: a single embracing violet maternal silhouette enclosing two pale negative-space profiles, exactly two closed-eye crescents, mother above left and baby below right; symbol above the rounded literal wordmark Weltstillwoche. No mirroring, missing eye, altered anatomy, new letterform spelling or extra icon. The campaign logo remains flat. The expressive headline is a separate 3D object, never the wordmark.
LOCK: Warm adult modern and rounded sans-only. Satin violet porcelain 3D with substantial visible sidewalls, soft rounded bevels, plausible contact shadows, not metallic chrome. Pale lavender paper, lilac linen, broad open embracing arcs, neutral natural daylight skin, intimate candid parent–infant photography. Color targets violet #8A5AA5, plum #4F2873, pale lavender #F5EEFA, lilac #C9A7E1, deepest plum #251330. Large editorial breathing room. Exact headline “Nähe, die bleibt.” including two dots of ä, comma, final period. Flat utility typography resembles Nunito Sans; no claim of exact generated font reproduction.
Create one complete native square 1:1 brandbook image, all of its imagery, layout, lettering and UI generated together. Straight-on editorial board, no photographed whole paper sheet, no external overlays, no watermarks. Actual photos look documentary and physically plausible, subtle pores, gentle daylight, fully clothed parent and infant with natural hands. No jewelry or invented products. No dates, discounts, prices, gifts, percentage signs, live destinations, URLs, brand claims, testimonials, fake metrics or incidental text. No fabricated MILKIES/DIY logo; where those branch names are allowed, use plain utility text as labels only. Never use the original anchor headline as a mere pasted image: compose a new whole board for its specific role. Keep every letter face clearly visible and every text line wide enough. Only print the exact copy inventory for this board; no spontaneous microtext.

EXACT COPY INVENTORY (repetitions only as explicitly described): "09", "Print", "Weltstillwoche", "Nähe, die bleibt.", "Vorderseite", "Rückseite", "Ein Moment für uns.".

board-10.txt

creative/prompts/board-10.txt

TXT · 3,644 B

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Create the concluding reusable toolkit consistency board with five generous designed specimen areas. Outer header top right “10” and “Werkzeugkasten”. An elegant asymmetric modular composition on pale lavender: (1) “Logo”: one very clear approved flat purple maternal symbol plus literal “Weltstillwoche” with abundant breathing room. (2) “Typografie”: a large separate satin violet porcelain 3D “Nähe, die bleibt.” with substantial sidewalls. (3) “Material”: two tactile close-up specimens, lilac linen and glazed violet porcelain, labelled “Leinen” and “Porzellan”. (4) “Motiv”: a repeatable family of broad open embracing arcs only, never repeated logo silhouettes, in flat lilac and plum plus one restrained sculptural arc. (5) “Oberfläche”: paired light-lavender and deep-plum rounded panel specimens sharing identical generous radius and spacing, each with one flat readable button labelled “Entdecken”. Keep the complete system visibly related to the anchor's atmosphere and object surfaces; practical collection of motifs, surfaces and type, no checkmark checklist, no fake metrics, no color hex microtext, no extra claims. All label sizes large and crisp; do not squeeze a technical manual onto the board.

REFERENCE AUTHORITY: Image 1 is the approved campaign identity master. Image 2 is the visual-world and editorial-style anchor only. Preserve the supplied campaign logo 100% true to the original in every detail: a single embracing violet maternal silhouette enclosing two pale negative-space profiles, exactly two closed-eye crescents, mother above left and baby below right; symbol above the rounded literal wordmark Weltstillwoche. No mirroring, missing eye, altered anatomy, new letterform spelling or extra icon. The campaign logo remains flat. The expressive headline is a separate 3D object, never the wordmark.
LOCK: Warm adult modern and rounded sans-only. Satin violet porcelain 3D with substantial visible sidewalls, soft rounded bevels, plausible contact shadows, not metallic chrome. Pale lavender paper, lilac linen, broad open embracing arcs, neutral natural daylight skin, intimate candid parent–infant photography. Color targets violet #8A5AA5, plum #4F2873, pale lavender #F5EEFA, lilac #C9A7E1, deepest plum #251330. Large editorial breathing room. Exact headline “Nähe, die bleibt.” including two dots of ä, comma, final period. Flat utility typography resembles Nunito Sans; no claim of exact generated font reproduction.
Create one complete native square 1:1 brandbook image, all of its imagery, layout, lettering and UI generated together. Straight-on editorial board, no photographed whole paper sheet, no external overlays, no watermarks. Actual photos look documentary and physically plausible, subtle pores, gentle daylight, fully clothed parent and infant with natural hands. No jewelry or invented products. No dates, discounts, prices, gifts, percentage signs, live destinations, URLs, brand claims, testimonials, fake metrics or incidental text. No fabricated MILKIES/DIY logo; where those branch names are allowed, use plain utility text as labels only. Never use the original anchor headline as a mere pasted image: compose a new whole board for its specific role. Keep every letter face clearly visible and every text line wide enough. Only print the exact copy inventory for this board; no spontaneous microtext.

EXACT COPY INVENTORY (repetitions only as explicitly described): "10", "Werkzeugkasten", "Weltstillwoche", "Logo", "Typografie", "Nähe, die bleibt.", "Material", "Leinen", "Porzellan", "Motiv", "Oberfläche", "Entdecken".

release-be-fr-dark.txt

creative/prompts/logos/release-be-fr-dark.txt

TXT · 32,014 B

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OUTPUT STAGE: STANDALONE LOGO
APPROVED WORDMARK: Semaine mondiale de l'allaitement

CRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK

The earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.

RELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY

The owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.

REFERENCE MAP
first image: [APPROVED-BE-FR] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.
second image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.
third image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.
fourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.
END REFERENCE MAP

ACTUAL IDENTITY LOCK

The first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.

Keep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.

EXACT LETTERING IS PART OF THE APPROVED IDENTITY

Use only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.

Only the approved name is visible. Do not print the market key, country, language, mode name, hex value, file name, numbering, annotation, subtitle, slogan, year, offer, percentage, website, registration mark, signature, brandkit title, corporate endorsement, or a reference brand. This call returns a production asset, so its workflow labels remain invisible. A checkerboard, color chip, mode badge, or white rectangle with the logo on it is not part of the logo.

TRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT

The output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.

Preserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.

Think of the PNG as artwork that can be placed over any destination canvas. When the receiving page is dark, the transparent faces and counters reveal that dark page; when it is light, they reveal the light page. Do not bake either destination into this asset. The mode-specific colors below govern only the opaque artwork. A suggestion of a web canvas color is contextual information for contrast, never permission to render a background.

SINGLE-ASSET COMPOSITION AND DELIVERY

Return one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.

FINAL INTERNAL COMPARISON

Before returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.

Then inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.

MODE: DARK TRANSPARENT FLAT LOGO

Preserve the approved flat geometry and replace only its opaque artwork colors. The complete positive mother-and-infant symbol is sRGB #C9A7E1. The entire approved text and both closed-eye crescents are sRGB #F5EEFA. These lighter opaque colors are intended to contrast with a dark website canvas such as #251330. Do not draw that dark canvas, or any other canvas color, inside the PNG. Every original background and negative-space region becomes fully transparent.

Do not invert the topology or fill the faces pale simply because this is dark mode. Both faces reveal the receiving page through alpha; only their two existing eye crescents remain opaque pale lilac. Letter counters reveal the receiving page as well. No depth, bevel, extrusion, grain, metallic effect, shadow, halo, glow, or gradient. This is a clean flat two-color adaptation of the approved actual logo, with every contour and line of text preserved.

EXACT APPROVED COPY TO PRESERVE

Render precisely these 2 approved line(s), unchanged from the first reference:
Semaine mondiale
de l'allaitement

COPY RISKS
Only S is capital in supplied sentence case. Keep lowercase mondiale and allaitement, apostrophe in l'allaitement. Do not append Maternel; that belongs to the separate France wording.

# Active generation contract — v4.0.0

This is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.

Read the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.

## D — active design rules

### D-01

FORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.

### D-02

COLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.

### D-03

ONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.

### D-04

MEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.

### D-05

PURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.

### D-06

CONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.

### D-07

READABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.

### D-08

INTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.

### D-09

CONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.

### D-10

NUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.

### D-11

OPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.

### D-12

RESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.

### D-13

COHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.

### D-14

RADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.

### D-15

PURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.

### D-16

AUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.

### D-17

LETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.

## W — active working principles

### W-01

Each candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.

### W-02

Solve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.

### W-03

Let the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.

### W-04

Seek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.

### W-05

Seek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.

### W-06

Make thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.

### W-07

Design for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.

### W-08

Choose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.

### W-09

Require particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.

### W-10

Give each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.

### W-11

Solve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.

### W-12

Reduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.

### W-13

Establish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.

### W-14

Make the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.

### W-15

Use reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.

### W-16

Seek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.

### W-17

Describe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.

### W-18

Consider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.

### W-19

Preserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.

### W-20

Put communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.

## C — active control questions

### C-01

Which observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.

### C-02

Can this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?

### C-03

What actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?

### C-04

Did simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?

### C-05

Does one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?

### C-06

What dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?

## I — full curriculum of methods and examples

### I-01 — Peter Behrens

Curriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.

### I-02 — A.M. Cassandre

Curriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.

### I-03 — Paul Rand

Curriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.

### I-04 — Saul Bass

Curriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.

### I-05 — Raymond Loewy

Curriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.

### I-06 — Milton Glaser

Curriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.

### I-07 — Ivan Chermayeff

Curriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.

### I-08 — Tom Geismar

Curriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.

### I-09 — Otl Aicher

Curriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.

### I-10 — Yusaku Kamekura

Curriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.

### I-11 — Alan Fletcher

Curriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.

### I-12 — Herb Lubalin

Curriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.

### I-13 — Walter Landor

Curriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.

### I-14 — Carolyn Davidson

Curriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.

### I-15 — Rob Janoff

Curriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.

### I-16 — Lindon Leader

Curriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.

### I-17 — Paula Scher

Curriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.

### I-18 — Henry Steiner

The source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.

### I-19 — Michael Bierut

Curriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.



HISTORICAL REFERENCE MECHANISMS

ATTACHED REFERENCE 2: GI19 / dog & fish
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Direct visual verification
A dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.

Transferable inspiration
**When this is useful:** Two subjects share a contour or figure/ground boundary.

**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.

**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?

ATTACHED REFERENCE 3: ST44 / COUNTERS
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical description
The boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.

Usable formal mechanisms
Make the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.

Fit conditions
Useful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.

Conflicts, risks, and scale or monochrome adaptations
A forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.

What not to copy
Do not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.

ATTACHED REFERENCE 4: ST74 / BRACKETING
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical design description
Let two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.

Usable mechanisms
Two complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.

Fit conditions
Useful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.

Conflicts, scale, monochrome, and adaptations
Generic ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.

What not to copy
Do not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.

Preserve the baseline of every approved text line. A physical-looking letter may have a beveled face, but its front silhouette still follows the selected humanist sans design. No letter tilts independently or moves out of alignment.

release-be-fr-full-3d.txt

creative/prompts/logos/release-be-fr-full-3d.txt

TXT · 32,074 B

Pokaż treść
OUTPUT STAGE: STANDALONE LOGO
APPROVED WORDMARK: Semaine mondiale de l'allaitement

CRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK

The earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.

RELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY

The owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.

REFERENCE MAP
first image: [APPROVED-BE-FR] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.
second image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.
third image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.
fourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.
END REFERENCE MAP

ACTUAL IDENTITY LOCK

The first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.

Keep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.

EXACT LETTERING IS PART OF THE APPROVED IDENTITY

Use only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.

TRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT

The output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.

Preserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.

SINGLE-ASSET COMPOSITION AND DELIVERY

Return one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.

FINAL INTERNAL COMPARISON

Before returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.

Then inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.

MODE: FULL 3D TRANSPARENT SCULPTURAL LOGO

Transform the positive shapes of the approved logo into a substantial satin violet porcelain-like sculptural object while preserving its precise frontal identity and spelling. Use an orthographic frontal camera so the name remains easy to read and the approved proportions stay recognizable. Extrude the symbol and letters to a clear depth approximately eight percent of the symbol's height, with softly rounded bevels, visible side faces, and controlled occlusion. The result must visibly have depth, not merely a flat purple graphic with a drop shadow.

The symbol's front material is based on #8A5AA5 violet, with realistic lighter highlights and darker purple side shading from a soft upper-left studio light. The wordmark becomes coherent raised sculptural deep-plum lettering based on #4F2873, with the same lettering shapes and exact approved lines. Give the typography its own readable dimensional bevels without making counters close or letters join. Both existing small eye crescents remain deep-plum opaque inlay-like sculptural details in their original locations.

All faces, neck openings, infant openings, letter counters, spaces, and surrounding canvas remain full alpha cutouts through the object. Never fill these spaces with a porcelain plate, skin-colored face, transparent glass, background disc, plaque, connected backing sheet, or floor. Isolated eye marks and isolated letters are permitted floating parts in this logo asset. Use light on the object itself, without a cast shadow on an invented receiving surface. No plinth, stage, jewelry item, extra object, room, border, or photographic scenery.

Maintain the original front-facing symbol silhouette and text arrangement. Extrusion and bevels may introduce physically meaningful side contours, but must not redraw profiles, add eyelashes, erase an accent, obscure an apostrophe, or change the approved words. The material is satin rather than mirror chrome; highlights should clarify the rounding and depth without washing out the lettering. This PNG is a full 3D-style rendered logo asset, not a deliverable mesh or an animated scene.

EXACT APPROVED COPY TO PRESERVE

Render precisely these 2 approved line(s), unchanged from the first reference:
Semaine mondiale
de l'allaitement

COPY RISKS
Only S is capital in supplied sentence case. Keep lowercase mondiale and allaitement, apostrophe in l'allaitement. Do not append Maternel; that belongs to the separate France wording.

# Active generation contract — v4.0.0

This is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.

Read the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.

## D — active design rules

### D-01

FORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.

### D-02

COLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.

### D-03

ONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.

### D-04

MEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.

### D-05

PURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.

### D-06

CONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.

### D-07

READABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.

### D-08

INTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.

### D-09

CONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.

### D-10

NUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.

### D-11

OPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.

### D-12

RESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.

### D-13

COHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.

### D-14

RADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.

### D-15

PURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.

### D-16

AUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.

### D-17

LETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.

## W — active working principles

### W-01

Each candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.

### W-02

Solve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.

### W-03

Let the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.

### W-04

Seek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.

### W-05

Seek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.

### W-06

Make thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.

### W-07

Design for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.

### W-08

Choose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.

### W-09

Require particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.

### W-10

Give each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.

### W-11

Solve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.

### W-12

Reduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.

### W-13

Establish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.

### W-14

Make the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.

### W-15

Use reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.

### W-16

Seek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.

### W-17

Describe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.

### W-18

Consider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.

### W-19

Preserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.

### W-20

Put communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.

## C — active control questions

### C-01

Which observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.

### C-02

Can this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?

### C-03

What actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?

### C-04

Did simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?

### C-05

Does one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?

### C-06

What dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?

## I — full curriculum of methods and examples

### I-01 — Peter Behrens

Curriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.

### I-02 — A.M. Cassandre

Curriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.

### I-03 — Paul Rand

Curriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.

### I-04 — Saul Bass

Curriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.

### I-05 — Raymond Loewy

Curriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.

### I-06 — Milton Glaser

Curriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.

### I-07 — Ivan Chermayeff

Curriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.

### I-08 — Tom Geismar

Curriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.

### I-09 — Otl Aicher

Curriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.

### I-10 — Yusaku Kamekura

Curriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.

### I-11 — Alan Fletcher

Curriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.

### I-12 — Herb Lubalin

Curriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.

### I-13 — Walter Landor

Curriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.

### I-14 — Carolyn Davidson

Curriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.

### I-15 — Rob Janoff

Curriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.

### I-16 — Lindon Leader

Curriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.

### I-17 — Paula Scher

Curriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.

### I-18 — Henry Steiner

The source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.

### I-19 — Michael Bierut

Curriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.



HISTORICAL REFERENCE MECHANISMS

ATTACHED REFERENCE 2: GI19 / dog & fish
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Direct visual verification
A dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.

Transferable inspiration
**When this is useful:** Two subjects share a contour or figure/ground boundary.

**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.

**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?

ATTACHED REFERENCE 3: ST44 / COUNTERS
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical description
The boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.

Usable formal mechanisms
Make the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.

Fit conditions
Useful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.

Conflicts, risks, and scale or monochrome adaptations
A forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.

What not to copy
Do not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.

ATTACHED REFERENCE 4: ST74 / BRACKETING
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical design description
Let two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.

Usable mechanisms
Two complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.

Fit conditions
Useful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.

Conflicts, scale, monochrome, and adaptations
Generic ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.

What not to copy
Do not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.

release-be-fr-light.txt

creative/prompts/logos/release-be-fr-light.txt

TXT · 31,981 B

Pokaż treść
OUTPUT STAGE: STANDALONE LOGO
APPROVED WORDMARK: Semaine mondiale de l'allaitement

CRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK

The earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.

RELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY

The owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.

REFERENCE MAP
first image: [APPROVED-BE-FR] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.
second image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.
third image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.
fourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.
END REFERENCE MAP

ACTUAL IDENTITY LOCK

The first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.

Keep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.

EXACT LETTERING IS PART OF THE APPROVED IDENTITY

Use only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.

Only the approved name is visible. Do not print the market key, country, language, mode name, hex value, file name, numbering, annotation, subtitle, slogan, year, offer, percentage, website, registration mark, signature, brandkit title, corporate endorsement, or a reference brand. This call returns a production asset, so its workflow labels remain invisible. A checkerboard, color chip, mode badge, or white rectangle with the logo on it is not part of the logo.

TRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT

The output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.

Preserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.

Think of the PNG as artwork that can be placed over any destination canvas. When the receiving page is dark, the transparent faces and counters reveal that dark page; when it is light, they reveal the light page. Do not bake either destination into this asset. The mode-specific colors below govern only the opaque artwork. A suggestion of a web canvas color is contextual information for contrast, never permission to render a background.

SINGLE-ASSET COMPOSITION AND DELIVERY

Return one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.

FINAL INTERNAL COMPARISON

Before returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.

Then inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.

MODE: LIGHT TRANSPARENT FLAT LOGO

Retain the approved flat design. Fill the complete positive mother-and-infant symbol with sRGB #8A5AA5. Fill the entire approved text and both closed-eye crescents with sRGB #4F2873. Keep these colors uniform and opaque. Remove the source background and every pale internal negative shape to full transparency. The light mode means these dark-enough artwork colors are intended for light destination surfaces; it does not mean adding a white or lilac background inside the PNG.

No depth, bevel, extrusion, material reflection, shadow, glow, metallic finish, embossing, gradient, grain, paper texture, or lighting effect. Preserve the source's exact contours and typography. Normal antialiasing may occur at boundaries only. This is the flat light-mode master for web and layout placement, with the source palette retained in the positive artwork and genuine alpha in all empty regions.

EXACT APPROVED COPY TO PRESERVE

Render precisely these 2 approved line(s), unchanged from the first reference:
Semaine mondiale
de l'allaitement

COPY RISKS
Only S is capital in supplied sentence case. Keep lowercase mondiale and allaitement, apostrophe in l'allaitement. Do not append Maternel; that belongs to the separate France wording.

# Active generation contract — v4.0.0

This is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.

Read the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.

## D — active design rules

### D-01

FORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.

### D-02

COLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.

### D-03

ONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.

### D-04

MEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.

### D-05

PURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.

### D-06

CONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.

### D-07

READABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.

### D-08

INTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.

### D-09

CONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.

### D-10

NUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.

### D-11

OPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.

### D-12

RESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.

### D-13

COHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.

### D-14

RADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.

### D-15

PURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.

### D-16

AUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.

### D-17

LETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.

## W — active working principles

### W-01

Each candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.

### W-02

Solve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.

### W-03

Let the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.

### W-04

Seek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.

### W-05

Seek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.

### W-06

Make thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.

### W-07

Design for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.

### W-08

Choose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.

### W-09

Require particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.

### W-10

Give each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.

### W-11

Solve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.

### W-12

Reduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.

### W-13

Establish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.

### W-14

Make the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.

### W-15

Use reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.

### W-16

Seek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.

### W-17

Describe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.

### W-18

Consider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.

### W-19

Preserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.

### W-20

Put communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.

## C — active control questions

### C-01

Which observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.

### C-02

Can this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?

### C-03

What actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?

### C-04

Did simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?

### C-05

Does one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?

### C-06

What dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?

## I — full curriculum of methods and examples

### I-01 — Peter Behrens

Curriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.

### I-02 — A.M. Cassandre

Curriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.

### I-03 — Paul Rand

Curriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.

### I-04 — Saul Bass

Curriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.

### I-05 — Raymond Loewy

Curriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.

### I-06 — Milton Glaser

Curriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.

### I-07 — Ivan Chermayeff

Curriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.

### I-08 — Tom Geismar

Curriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.

### I-09 — Otl Aicher

Curriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.

### I-10 — Yusaku Kamekura

Curriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.

### I-11 — Alan Fletcher

Curriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.

### I-12 — Herb Lubalin

Curriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.

### I-13 — Walter Landor

Curriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.

### I-14 — Carolyn Davidson

Curriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.

### I-15 — Rob Janoff

Curriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.

### I-16 — Lindon Leader

Curriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.

### I-17 — Paula Scher

Curriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.

### I-18 — Henry Steiner

The source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.

### I-19 — Michael Bierut

Curriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.



HISTORICAL REFERENCE MECHANISMS

ATTACHED REFERENCE 2: GI19 / dog & fish
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Direct visual verification
A dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.

Transferable inspiration
**When this is useful:** Two subjects share a contour or figure/ground boundary.

**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.

**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?

ATTACHED REFERENCE 3: ST44 / COUNTERS
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical description
The boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.

Usable formal mechanisms
Make the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.

Fit conditions
Useful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.

Conflicts, risks, and scale or monochrome adaptations
A forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.

What not to copy
Do not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.

ATTACHED REFERENCE 4: ST74 / BRACKETING
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical design description
Let two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.

Usable mechanisms
Two complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.

Fit conditions
Useful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.

Conflicts, scale, monochrome, and adaptations
Generic ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.

What not to copy
Do not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.

Preserve the baseline of every approved text line. A physical-looking letter may have a beveled face, but its front silhouette still follows the selected humanist sans design. No letter tilts independently or moves out of alignment.

release-be-nl-dark.txt

creative/prompts/logos/release-be-nl-dark.txt

TXT · 31,945 B

Pokaż treść
OUTPUT STAGE: STANDALONE LOGO
APPROVED WORDMARK: Wereldborstvoedingsweek

CRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK

The earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.

RELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY

The owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.

REFERENCE MAP
first image: [APPROVED-BE-NL] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.
second image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.
third image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.
fourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.
END REFERENCE MAP

ACTUAL IDENTITY LOCK

The first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.

Keep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.

EXACT LETTERING IS PART OF THE APPROVED IDENTITY

Use only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.

Only the approved name is visible. Do not print the market key, country, language, mode name, hex value, file name, numbering, annotation, subtitle, slogan, year, offer, percentage, website, registration mark, signature, brandkit title, corporate endorsement, or a reference brand. This call returns a production asset, so its workflow labels remain invisible. A checkerboard, color chip, mode badge, or white rectangle with the logo on it is not part of the logo.

TRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT

The output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.

Preserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.

Think of the PNG as artwork that can be placed over any destination canvas. When the receiving page is dark, the transparent faces and counters reveal that dark page; when it is light, they reveal the light page. Do not bake either destination into this asset. The mode-specific colors below govern only the opaque artwork. A suggestion of a web canvas color is contextual information for contrast, never permission to render a background.

SINGLE-ASSET COMPOSITION AND DELIVERY

Return one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.

FINAL INTERNAL COMPARISON

Before returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.

Then inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.

MODE: DARK TRANSPARENT FLAT LOGO

Preserve the approved flat geometry and replace only its opaque artwork colors. The complete positive mother-and-infant symbol is sRGB #C9A7E1. The entire approved text and both closed-eye crescents are sRGB #F5EEFA. These lighter opaque colors are intended to contrast with a dark website canvas such as #251330. Do not draw that dark canvas, or any other canvas color, inside the PNG. Every original background and negative-space region becomes fully transparent.

Do not invert the topology or fill the faces pale simply because this is dark mode. Both faces reveal the receiving page through alpha; only their two existing eye crescents remain opaque pale lilac. Letter counters reveal the receiving page as well. No depth, bevel, extrusion, grain, metallic effect, shadow, halo, glow, or gradient. This is a clean flat two-color adaptation of the approved actual logo, with every contour and line of text preserved.

EXACT APPROVED COPY TO PRESERVE

Render precisely these 1 approved line(s), unchanged from the first reference:
Wereldborstvoedingsweek

COPY RISKS
Exact single unbroken compound Wereldborstvoedingsweek. Do not split by an inserted space or hyphen, and do not substitute Landelijke.

# Active generation contract — v4.0.0

This is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.

Read the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.

## D — active design rules

### D-01

FORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.

### D-02

COLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.

### D-03

ONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.

### D-04

MEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.

### D-05

PURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.

### D-06

CONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.

### D-07

READABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.

### D-08

INTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.

### D-09

CONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.

### D-10

NUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.

### D-11

OPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.

### D-12

RESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.

### D-13

COHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.

### D-14

RADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.

### D-15

PURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.

### D-16

AUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.

### D-17

LETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.

## W — active working principles

### W-01

Each candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.

### W-02

Solve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.

### W-03

Let the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.

### W-04

Seek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.

### W-05

Seek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.

### W-06

Make thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.

### W-07

Design for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.

### W-08

Choose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.

### W-09

Require particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.

### W-10

Give each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.

### W-11

Solve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.

### W-12

Reduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.

### W-13

Establish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.

### W-14

Make the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.

### W-15

Use reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.

### W-16

Seek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.

### W-17

Describe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.

### W-18

Consider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.

### W-19

Preserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.

### W-20

Put communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.

## C — active control questions

### C-01

Which observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.

### C-02

Can this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?

### C-03

What actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?

### C-04

Did simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?

### C-05

Does one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?

### C-06

What dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?

## I — full curriculum of methods and examples

### I-01 — Peter Behrens

Curriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.

### I-02 — A.M. Cassandre

Curriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.

### I-03 — Paul Rand

Curriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.

### I-04 — Saul Bass

Curriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.

### I-05 — Raymond Loewy

Curriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.

### I-06 — Milton Glaser

Curriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.

### I-07 — Ivan Chermayeff

Curriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.

### I-08 — Tom Geismar

Curriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.

### I-09 — Otl Aicher

Curriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.

### I-10 — Yusaku Kamekura

Curriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.

### I-11 — Alan Fletcher

Curriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.

### I-12 — Herb Lubalin

Curriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.

### I-13 — Walter Landor

Curriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.

### I-14 — Carolyn Davidson

Curriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.

### I-15 — Rob Janoff

Curriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.

### I-16 — Lindon Leader

Curriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.

### I-17 — Paula Scher

Curriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.

### I-18 — Henry Steiner

The source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.

### I-19 — Michael Bierut

Curriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.



HISTORICAL REFERENCE MECHANISMS

ATTACHED REFERENCE 2: GI19 / dog & fish
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Direct visual verification
A dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.

Transferable inspiration
**When this is useful:** Two subjects share a contour or figure/ground boundary.

**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.

**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?

ATTACHED REFERENCE 3: ST44 / COUNTERS
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical description
The boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.

Usable formal mechanisms
Make the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.

Fit conditions
Useful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.

Conflicts, risks, and scale or monochrome adaptations
A forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.

What not to copy
Do not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.

ATTACHED REFERENCE 4: ST74 / BRACKETING
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical design description
Let two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.

Usable mechanisms
Two complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.

Fit conditions
Useful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.

Conflicts, scale, monochrome, and adaptations
Generic ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.

What not to copy
Do not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.

Preserve the baseline of every approved text line. A physical-looking letter may have a beveled face, but its front silhouette still follows the selected humanist sans design. No letter tilts independently or moves out of alignment.

release-be-nl-full-3d.txt

creative/prompts/logos/release-be-nl-full-3d.txt

TXT · 32,005 B

Pokaż treść
OUTPUT STAGE: STANDALONE LOGO
APPROVED WORDMARK: Wereldborstvoedingsweek

CRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK

The earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.

RELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY

The owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.

REFERENCE MAP
first image: [APPROVED-BE-NL] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.
second image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.
third image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.
fourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.
END REFERENCE MAP

ACTUAL IDENTITY LOCK

The first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.

Keep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.

EXACT LETTERING IS PART OF THE APPROVED IDENTITY

Use only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.

TRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT

The output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.

Preserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.

SINGLE-ASSET COMPOSITION AND DELIVERY

Return one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.

FINAL INTERNAL COMPARISON

Before returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.

Then inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.

MODE: FULL 3D TRANSPARENT SCULPTURAL LOGO

Transform the positive shapes of the approved logo into a substantial satin violet porcelain-like sculptural object while preserving its precise frontal identity and spelling. Use an orthographic frontal camera so the name remains easy to read and the approved proportions stay recognizable. Extrude the symbol and letters to a clear depth approximately eight percent of the symbol's height, with softly rounded bevels, visible side faces, and controlled occlusion. The result must visibly have depth, not merely a flat purple graphic with a drop shadow.

The symbol's front material is based on #8A5AA5 violet, with realistic lighter highlights and darker purple side shading from a soft upper-left studio light. The wordmark becomes coherent raised sculptural deep-plum lettering based on #4F2873, with the same lettering shapes and exact approved lines. Give the typography its own readable dimensional bevels without making counters close or letters join. Both existing small eye crescents remain deep-plum opaque inlay-like sculptural details in their original locations.

All faces, neck openings, infant openings, letter counters, spaces, and surrounding canvas remain full alpha cutouts through the object. Never fill these spaces with a porcelain plate, skin-colored face, transparent glass, background disc, plaque, connected backing sheet, or floor. Isolated eye marks and isolated letters are permitted floating parts in this logo asset. Use light on the object itself, without a cast shadow on an invented receiving surface. No plinth, stage, jewelry item, extra object, room, border, or photographic scenery.

Maintain the original front-facing symbol silhouette and text arrangement. Extrusion and bevels may introduce physically meaningful side contours, but must not redraw profiles, add eyelashes, erase an accent, obscure an apostrophe, or change the approved words. The material is satin rather than mirror chrome; highlights should clarify the rounding and depth without washing out the lettering. This PNG is a full 3D-style rendered logo asset, not a deliverable mesh or an animated scene.

EXACT APPROVED COPY TO PRESERVE

Render precisely these 1 approved line(s), unchanged from the first reference:
Wereldborstvoedingsweek

COPY RISKS
Exact single unbroken compound Wereldborstvoedingsweek. Do not split by an inserted space or hyphen, and do not substitute Landelijke.

# Active generation contract — v4.0.0

This is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.

Read the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.

## D — active design rules

### D-01

FORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.

### D-02

COLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.

### D-03

ONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.

### D-04

MEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.

### D-05

PURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.

### D-06

CONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.

### D-07

READABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.

### D-08

INTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.

### D-09

CONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.

### D-10

NUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.

### D-11

OPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.

### D-12

RESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.

### D-13

COHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.

### D-14

RADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.

### D-15

PURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.

### D-16

AUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.

### D-17

LETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.

## W — active working principles

### W-01

Each candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.

### W-02

Solve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.

### W-03

Let the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.

### W-04

Seek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.

### W-05

Seek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.

### W-06

Make thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.

### W-07

Design for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.

### W-08

Choose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.

### W-09

Require particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.

### W-10

Give each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.

### W-11

Solve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.

### W-12

Reduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.

### W-13

Establish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.

### W-14

Make the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.

### W-15

Use reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.

### W-16

Seek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.

### W-17

Describe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.

### W-18

Consider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.

### W-19

Preserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.

### W-20

Put communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.

## C — active control questions

### C-01

Which observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.

### C-02

Can this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?

### C-03

What actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?

### C-04

Did simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?

### C-05

Does one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?

### C-06

What dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?

## I — full curriculum of methods and examples

### I-01 — Peter Behrens

Curriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.

### I-02 — A.M. Cassandre

Curriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.

### I-03 — Paul Rand

Curriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.

### I-04 — Saul Bass

Curriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.

### I-05 — Raymond Loewy

Curriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.

### I-06 — Milton Glaser

Curriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.

### I-07 — Ivan Chermayeff

Curriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.

### I-08 — Tom Geismar

Curriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.

### I-09 — Otl Aicher

Curriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.

### I-10 — Yusaku Kamekura

Curriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.

### I-11 — Alan Fletcher

Curriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.

### I-12 — Herb Lubalin

Curriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.

### I-13 — Walter Landor

Curriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.

### I-14 — Carolyn Davidson

Curriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.

### I-15 — Rob Janoff

Curriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.

### I-16 — Lindon Leader

Curriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.

### I-17 — Paula Scher

Curriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.

### I-18 — Henry Steiner

The source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.

### I-19 — Michael Bierut

Curriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.



HISTORICAL REFERENCE MECHANISMS

ATTACHED REFERENCE 2: GI19 / dog & fish
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Direct visual verification
A dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.

Transferable inspiration
**When this is useful:** Two subjects share a contour or figure/ground boundary.

**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.

**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?

ATTACHED REFERENCE 3: ST44 / COUNTERS
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical description
The boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.

Usable formal mechanisms
Make the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.

Fit conditions
Useful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.

Conflicts, risks, and scale or monochrome adaptations
A forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.

What not to copy
Do not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.

ATTACHED REFERENCE 4: ST74 / BRACKETING
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical design description
Let two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.

Usable mechanisms
Two complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.

Fit conditions
Useful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.

Conflicts, scale, monochrome, and adaptations
Generic ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.

What not to copy
Do not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.

release-be-nl-light.txt

creative/prompts/logos/release-be-nl-light.txt

TXT · 32,019 B

Pokaż treść
OUTPUT STAGE: STANDALONE LOGO
APPROVED WORDMARK: Wereldborstvoedingsweek

CRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK

The earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.

RELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY

The owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.

REFERENCE MAP
first image: [APPROVED-BE-NL] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.
second image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.
third image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.
fourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.
END REFERENCE MAP

ACTUAL IDENTITY LOCK

The first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.

Keep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.

EXACT LETTERING IS PART OF THE APPROVED IDENTITY

Use only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.

Only the approved name is visible. Do not print the market key, country, language, mode name, hex value, file name, numbering, annotation, subtitle, slogan, year, offer, percentage, website, registration mark, signature, brandkit title, corporate endorsement, or a reference brand. This call returns a production asset, so its workflow labels remain invisible. A checkerboard, color chip, mode badge, or white rectangle with the logo on it is not part of the logo.

TRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT

The output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.

Preserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.

Think of the PNG as artwork that can be placed over any destination canvas. When the receiving page is dark, the transparent faces and counters reveal that dark page; when it is light, they reveal the light page. Do not bake either destination into this asset. The mode-specific colors below govern only the opaque artwork. A suggestion of a web canvas color is contextual information for contrast, never permission to render a background.

SINGLE-ASSET COMPOSITION AND DELIVERY

Return one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.

FINAL INTERNAL COMPARISON

Before returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.

Then inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.

MODE: LIGHT TRANSPARENT FLAT LOGO

Retain the approved flat design. Fill the complete positive mother-and-infant symbol with sRGB #8A5AA5. Fill the entire approved text and both closed-eye crescents with sRGB #4F2873. Keep these colors uniform and opaque. Remove the source background and every pale internal negative shape to full transparency. The light mode means these dark-enough artwork colors are intended for light destination surfaces; it does not mean adding a white or lilac background inside the PNG.

No depth, bevel, extrusion, material reflection, shadow, glow, metallic finish, embossing, gradient, grain, paper texture, or lighting effect. Preserve the source's exact contours and typography. Normal antialiasing may occur at boundaries only. This is the flat light-mode master for web and layout placement, with the source palette retained in the positive artwork and genuine alpha in all empty regions.

EXACT APPROVED COPY TO PRESERVE

Render precisely these 1 approved line(s), unchanged from the first reference:
Wereldborstvoedingsweek

COPY RISKS
Exact single unbroken compound Wereldborstvoedingsweek. Do not split by an inserted space or hyphen, and do not substitute Landelijke.

# Active generation contract — v4.0.0

This is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.

Read the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.

## D — active design rules

### D-01

FORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.

### D-02

COLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.

### D-03

ONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.

### D-04

MEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.

### D-05

PURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.

### D-06

CONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.

### D-07

READABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.

### D-08

INTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.

### D-09

CONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.

### D-10

NUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.

### D-11

OPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.

### D-12

RESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.

### D-13

COHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.

### D-14

RADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.

### D-15

PURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.

### D-16

AUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.

### D-17

LETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.

## W — active working principles

### W-01

Each candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.

### W-02

Solve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.

### W-03

Let the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.

### W-04

Seek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.

### W-05

Seek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.

### W-06

Make thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.

### W-07

Design for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.

### W-08

Choose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.

### W-09

Require particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.

### W-10

Give each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.

### W-11

Solve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.

### W-12

Reduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.

### W-13

Establish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.

### W-14

Make the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.

### W-15

Use reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.

### W-16

Seek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.

### W-17

Describe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.

### W-18

Consider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.

### W-19

Preserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.

### W-20

Put communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.

## C — active control questions

### C-01

Which observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.

### C-02

Can this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?

### C-03

What actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?

### C-04

Did simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?

### C-05

Does one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?

### C-06

What dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?

## I — full curriculum of methods and examples

### I-01 — Peter Behrens

Curriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.

### I-02 — A.M. Cassandre

Curriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.

### I-03 — Paul Rand

Curriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.

### I-04 — Saul Bass

Curriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.

### I-05 — Raymond Loewy

Curriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.

### I-06 — Milton Glaser

Curriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.

### I-07 — Ivan Chermayeff

Curriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.

### I-08 — Tom Geismar

Curriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.

### I-09 — Otl Aicher

Curriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.

### I-10 — Yusaku Kamekura

Curriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.

### I-11 — Alan Fletcher

Curriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.

### I-12 — Herb Lubalin

Curriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.

### I-13 — Walter Landor

Curriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.

### I-14 — Carolyn Davidson

Curriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.

### I-15 — Rob Janoff

Curriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.

### I-16 — Lindon Leader

Curriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.

### I-17 — Paula Scher

Curriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.

### I-18 — Henry Steiner

The source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.

### I-19 — Michael Bierut

Curriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.



HISTORICAL REFERENCE MECHANISMS

ATTACHED REFERENCE 2: GI19 / dog & fish
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Direct visual verification
A dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.

Transferable inspiration
**When this is useful:** Two subjects share a contour or figure/ground boundary.

**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.

**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?

ATTACHED REFERENCE 3: ST44 / COUNTERS
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical description
The boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.

Usable formal mechanisms
Make the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.

Fit conditions
Useful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.

Conflicts, risks, and scale or monochrome adaptations
A forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.

What not to copy
Do not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.

ATTACHED REFERENCE 4: ST74 / BRACKETING
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical design description
Let two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.

Usable mechanisms
Two complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.

Fit conditions
Useful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.

Conflicts, scale, monochrome, and adaptations
Generic ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.

What not to copy
Do not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.

Transparent clear space must be continuous all the way to the outer canvas edges. No faint pale rectangle, edge stroke, vignette, or residual source background should survive around the artwork.

The final file contains exactly one logo and no explanatory or comparative content. All production instructions stay outside the visible asset.

release-de-at-dark.txt

creative/prompts/logos/release-de-at-dark.txt

TXT · 31,925 B

Pokaż treść
OUTPUT STAGE: STANDALONE LOGO
APPROVED WORDMARK: Weltstillwoche

CRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK

The earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.

RELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY

The owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.

REFERENCE MAP
first image: [APPROVED-DE-AT] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.
second image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.
third image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.
fourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.
END REFERENCE MAP

ACTUAL IDENTITY LOCK

The first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.

Keep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.

EXACT LETTERING IS PART OF THE APPROVED IDENTITY

Use only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.

Only the approved name is visible. Do not print the market key, country, language, mode name, hex value, file name, numbering, annotation, subtitle, slogan, year, offer, percentage, website, registration mark, signature, brandkit title, corporate endorsement, or a reference brand. This call returns a production asset, so its workflow labels remain invisible. A checkerboard, color chip, mode badge, or white rectangle with the logo on it is not part of the logo.

TRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT

The output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.

Preserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.

Think of the PNG as artwork that can be placed over any destination canvas. When the receiving page is dark, the transparent faces and counters reveal that dark page; when it is light, they reveal the light page. Do not bake either destination into this asset. The mode-specific colors below govern only the opaque artwork. A suggestion of a web canvas color is contextual information for contrast, never permission to render a background.

SINGLE-ASSET COMPOSITION AND DELIVERY

Return one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.

FINAL INTERNAL COMPARISON

Before returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.

Then inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.

MODE: DARK TRANSPARENT FLAT LOGO

Preserve the approved flat geometry and replace only its opaque artwork colors. The complete positive mother-and-infant symbol is sRGB #C9A7E1. The entire approved text and both closed-eye crescents are sRGB #F5EEFA. These lighter opaque colors are intended to contrast with a dark website canvas such as #251330. Do not draw that dark canvas, or any other canvas color, inside the PNG. Every original background and negative-space region becomes fully transparent.

Do not invert the topology or fill the faces pale simply because this is dark mode. Both faces reveal the receiving page through alpha; only their two existing eye crescents remain opaque pale lilac. Letter counters reveal the receiving page as well. No depth, bevel, extrusion, grain, metallic effect, shadow, halo, glow, or gradient. This is a clean flat two-color adaptation of the approved actual logo, with every contour and line of text preserved.

EXACT APPROVED COPY TO PRESERVE

Render precisely these 1 approved line(s), unchanged from the first reference:
Weltstillwoche

COPY RISKS
Fourteen letters W e l t s t i l l w o c h e. Keep initial capital W, remaining lowercase, i dot, and two lowercase l stems after i.

# Active generation contract — v4.0.0

This is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.

Read the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.

## D — active design rules

### D-01

FORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.

### D-02

COLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.

### D-03

ONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.

### D-04

MEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.

### D-05

PURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.

### D-06

CONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.

### D-07

READABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.

### D-08

INTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.

### D-09

CONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.

### D-10

NUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.

### D-11

OPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.

### D-12

RESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.

### D-13

COHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.

### D-14

RADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.

### D-15

PURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.

### D-16

AUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.

### D-17

LETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.

## W — active working principles

### W-01

Each candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.

### W-02

Solve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.

### W-03

Let the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.

### W-04

Seek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.

### W-05

Seek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.

### W-06

Make thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.

### W-07

Design for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.

### W-08

Choose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.

### W-09

Require particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.

### W-10

Give each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.

### W-11

Solve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.

### W-12

Reduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.

### W-13

Establish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.

### W-14

Make the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.

### W-15

Use reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.

### W-16

Seek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.

### W-17

Describe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.

### W-18

Consider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.

### W-19

Preserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.

### W-20

Put communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.

## C — active control questions

### C-01

Which observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.

### C-02

Can this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?

### C-03

What actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?

### C-04

Did simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?

### C-05

Does one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?

### C-06

What dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?

## I — full curriculum of methods and examples

### I-01 — Peter Behrens

Curriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.

### I-02 — A.M. Cassandre

Curriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.

### I-03 — Paul Rand

Curriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.

### I-04 — Saul Bass

Curriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.

### I-05 — Raymond Loewy

Curriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.

### I-06 — Milton Glaser

Curriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.

### I-07 — Ivan Chermayeff

Curriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.

### I-08 — Tom Geismar

Curriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.

### I-09 — Otl Aicher

Curriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.

### I-10 — Yusaku Kamekura

Curriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.

### I-11 — Alan Fletcher

Curriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.

### I-12 — Herb Lubalin

Curriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.

### I-13 — Walter Landor

Curriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.

### I-14 — Carolyn Davidson

Curriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.

### I-15 — Rob Janoff

Curriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.

### I-16 — Lindon Leader

Curriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.

### I-17 — Paula Scher

Curriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.

### I-18 — Henry Steiner

The source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.

### I-19 — Michael Bierut

Curriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.



HISTORICAL REFERENCE MECHANISMS

ATTACHED REFERENCE 2: GI19 / dog & fish
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Direct visual verification
A dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.

Transferable inspiration
**When this is useful:** Two subjects share a contour or figure/ground boundary.

**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.

**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?

ATTACHED REFERENCE 3: ST44 / COUNTERS
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical description
The boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.

Usable formal mechanisms
Make the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.

Fit conditions
Useful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.

Conflicts, risks, and scale or monochrome adaptations
A forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.

What not to copy
Do not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.

ATTACHED REFERENCE 4: ST74 / BRACKETING
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical design description
Let two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.

Usable mechanisms
Two complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.

Fit conditions
Useful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.

Conflicts, scale, monochrome, and adaptations
Generic ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.

What not to copy
Do not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.

Preserve the baseline of every approved text line. A physical-looking letter may have a beveled face, but its front silhouette still follows the selected humanist sans design. No letter tilts independently or moves out of alignment.

release-de-at-full-3d.txt

creative/prompts/logos/release-de-at-full-3d.txt

TXT · 32,016 B

Pokaż treść
OUTPUT STAGE: STANDALONE LOGO
APPROVED WORDMARK: Weltstillwoche

RELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY

The owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.

REFERENCE MAP
first image: [APPROVED-DE-AT] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.
second image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.
third image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.
fourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.
END REFERENCE MAP

ACTUAL IDENTITY LOCK

The first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.

Keep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.

EXACT LETTERING IS PART OF THE APPROVED IDENTITY

Use only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.

Only the approved name is visible. Do not print the market key, country, language, mode name, hex value, file name, numbering, annotation, subtitle, slogan, year, offer, percentage, website, registration mark, signature, brandkit title, corporate endorsement, or a reference brand. This call returns a production asset, so its workflow labels remain invisible. A checkerboard, color chip, mode badge, or white rectangle with the logo on it is not part of the logo.

TRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT

The output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.

Preserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.

Think of the PNG as artwork that can be placed over any destination canvas. When the receiving page is dark, the transparent faces and counters reveal that dark page; when it is light, they reveal the light page. Do not bake either destination into this asset. The mode-specific colors below govern only the opaque artwork. A suggestion of a web canvas color is contextual information for contrast, never permission to render a background.

SINGLE-ASSET COMPOSITION AND DELIVERY

Return one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.

FINAL INTERNAL COMPARISON

Before returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.

Then inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.

MODE: FULL 3D TRANSPARENT SCULPTURAL LOGO

Transform the positive shapes of the approved logo into a substantial satin violet porcelain-like sculptural object while preserving its precise frontal identity and spelling. Use an orthographic frontal camera so the name remains easy to read and the approved proportions stay recognizable. Extrude the symbol and letters to a clear depth approximately eight percent of the symbol's height, with softly rounded bevels, visible side faces, and controlled occlusion. The result must visibly have depth, not merely a flat purple graphic with a drop shadow.

The symbol's front material is based on #8A5AA5 violet, with realistic lighter highlights and darker purple side shading from a soft upper-left studio light. The wordmark becomes coherent raised sculptural deep-plum lettering based on #4F2873, with the same lettering shapes and exact approved lines. Give the typography its own readable dimensional bevels without making counters close or letters join. Both existing small eye crescents remain deep-plum opaque inlay-like sculptural details in their original locations.

All faces, neck openings, infant openings, letter counters, spaces, and surrounding canvas remain full alpha cutouts through the object. Never fill these spaces with a porcelain plate, skin-colored face, transparent glass, background disc, plaque, connected backing sheet, or floor. Isolated eye marks and isolated letters are permitted floating parts in this logo asset. Use light on the object itself, without a cast shadow on an invented receiving surface. No plinth, stage, jewelry item, extra object, room, border, or photographic scenery.

Maintain the original front-facing symbol silhouette and text arrangement. Extrusion and bevels may introduce physically meaningful side contours, but must not redraw profiles, add eyelashes, erase an accent, obscure an apostrophe, or change the approved words. The material is satin rather than mirror chrome; highlights should clarify the rounding and depth without washing out the lettering. This PNG is a full 3D-style rendered logo asset, not a deliverable mesh or an animated scene.

EXACT APPROVED COPY TO PRESERVE

Render precisely these 1 approved line(s), unchanged from the first reference:
Weltstillwoche

COPY RISKS
Fourteen letters W e l t s t i l l w o c h e. Keep initial capital W, remaining lowercase, i dot, and two lowercase l stems after i.

# Active generation contract — v4.0.0

This is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.

Read the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.

## D — active design rules

### D-01

FORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.

### D-02

COLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.

### D-03

ONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.

### D-04

MEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.

### D-05

PURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.

### D-06

CONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.

### D-07

READABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.

### D-08

INTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.

### D-09

CONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.

### D-10

NUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.

### D-11

OPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.

### D-12

RESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.

### D-13

COHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.

### D-14

RADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.

### D-15

PURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.

### D-16

AUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.

### D-17

LETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.

## W — active working principles

### W-01

Each candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.

### W-02

Solve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.

### W-03

Let the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.

### W-04

Seek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.

### W-05

Seek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.

### W-06

Make thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.

### W-07

Design for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.

### W-08

Choose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.

### W-09

Require particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.

### W-10

Give each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.

### W-11

Solve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.

### W-12

Reduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.

### W-13

Establish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.

### W-14

Make the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.

### W-15

Use reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.

### W-16

Seek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.

### W-17

Describe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.

### W-18

Consider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.

### W-19

Preserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.

### W-20

Put communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.

## C — active control questions

### C-01

Which observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.

### C-02

Can this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?

### C-03

What actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?

### C-04

Did simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?

### C-05

Does one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?

### C-06

What dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?

## I — full curriculum of methods and examples

### I-01 — Peter Behrens

Curriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.

### I-02 — A.M. Cassandre

Curriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.

### I-03 — Paul Rand

Curriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.

### I-04 — Saul Bass

Curriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.

### I-05 — Raymond Loewy

Curriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.

### I-06 — Milton Glaser

Curriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.

### I-07 — Ivan Chermayeff

Curriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.

### I-08 — Tom Geismar

Curriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.

### I-09 — Otl Aicher

Curriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.

### I-10 — Yusaku Kamekura

Curriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.

### I-11 — Alan Fletcher

Curriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.

### I-12 — Herb Lubalin

Curriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.

### I-13 — Walter Landor

Curriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.

### I-14 — Carolyn Davidson

Curriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.

### I-15 — Rob Janoff

Curriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.

### I-16 — Lindon Leader

Curriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.

### I-17 — Paula Scher

Curriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.

### I-18 — Henry Steiner

The source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.

### I-19 — Michael Bierut

Curriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.



HISTORICAL REFERENCE MECHANISMS

ATTACHED REFERENCE 2: GI19 / dog & fish
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Direct visual verification
A dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.

Transferable inspiration
**When this is useful:** Two subjects share a contour or figure/ground boundary.

**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.

**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?

ATTACHED REFERENCE 3: ST44 / COUNTERS
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical description
The boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.

Usable formal mechanisms
Make the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.

Fit conditions
Useful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.

Conflicts, risks, and scale or monochrome adaptations
A forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.

What not to copy
Do not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.

ATTACHED REFERENCE 4: ST74 / BRACKETING
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical design description
Let two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.

Usable mechanisms
Two complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.

Fit conditions
Useful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.

Conflicts, scale, monochrome, and adaptations
Generic ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.

What not to copy
Do not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.

release-de-at-light.txt

creative/prompts/logos/release-de-at-light.txt

TXT · 32,005 B

Pokaż treść
OUTPUT STAGE: STANDALONE LOGO
APPROVED WORDMARK: Weltstillwoche

RELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY

The owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.

REFERENCE MAP
first image: [APPROVED-DE-AT] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.
second image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.
third image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.
fourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.
END REFERENCE MAP

ACTUAL IDENTITY LOCK

The first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.

The existing emblem remains upright, centered, and undistorted. Do not mirror it, rotate it, crop it, stretch its width, narrow its crown, shorten its lower tip, or change the relative sizes of mother and infant. Keep the two eye crescents in their actual source positions and at their original relative size. The eyes are essential small positive marks located within larger transparent face openings; they must remain present as isolated opaque artwork after background removal. Do not erase them together with the pale negative space.

Keep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.

EXACT LETTERING IS PART OF THE APPROVED IDENTITY

Use only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.

Do not use a serif, script, italic, condensed display font, outline-only letter, monogram, or decorative ligature. Do not thicken adjacent stems until they merge, close e apertures, replace an i dot with an ornament, or let a 3D bevel consume a small letter counter. Do not insert a hyphen into a long compound or turn one approved word into two. Do not remove a repeated word because it looks redundant. Each approved line remains centered and its wording remains unchanged. A different locale's wording is not an acceptable substitute.

Only the approved name is visible. Do not print the market key, country, language, mode name, hex value, file name, numbering, annotation, subtitle, slogan, year, offer, percentage, website, registration mark, signature, brandkit title, corporate endorsement, or a reference brand. This call returns a production asset, so its workflow labels remain invisible. A checkerboard, color chip, mode badge, or white rectangle with the logo on it is not part of the logo.

TRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT

The output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.

Preserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.

Think of the PNG as artwork that can be placed over any destination canvas. When the receiving page is dark, the transparent faces and counters reveal that dark page; when it is light, they reveal the light page. Do not bake either destination into this asset. The mode-specific colors below govern only the opaque artwork. A suggestion of a web canvas color is contextual information for contrast, never permission to render a background.

SINGLE-ASSET COMPOSITION AND DELIVERY

Return one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.

FINAL INTERNAL COMPARISON

Before returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.

Then inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.

MODE: LIGHT TRANSPARENT FLAT LOGO

Retain the approved flat design. Fill the complete positive mother-and-infant symbol with sRGB #8A5AA5. Fill the entire approved text and both closed-eye crescents with sRGB #4F2873. Keep these colors uniform and opaque. Remove the source background and every pale internal negative shape to full transparency. The light mode means these dark-enough artwork colors are intended for light destination surfaces; it does not mean adding a white or lilac background inside the PNG.

No depth, bevel, extrusion, material reflection, shadow, glow, metallic finish, embossing, gradient, grain, paper texture, or lighting effect. Preserve the source's exact contours and typography. Normal antialiasing may occur at boundaries only. This is the flat light-mode master for web and layout placement, with the source palette retained in the positive artwork and genuine alpha in all empty regions.

EXACT APPROVED COPY TO PRESERVE

Render precisely these 1 approved line(s), unchanged from the first reference:
Weltstillwoche

COPY RISKS
Fourteen letters W e l t s t i l l w o c h e. Keep initial capital W, remaining lowercase, i dot, and two lowercase l stems after i.

# Active generation contract — v4.0.0

This is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.

Read the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.

## D — active design rules

### D-01

FORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.

### D-02

COLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.

### D-03

ONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.

### D-04

MEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.

### D-05

PURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.

### D-06

CONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.

### D-07

READABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.

### D-08

INTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.

### D-09

CONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.

### D-10

NUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.

### D-11

OPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.

### D-12

RESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.

### D-13

COHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.

### D-14

RADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.

### D-15

PURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.

### D-16

AUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.

### D-17

LETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.

## W — active working principles

### W-01

Each candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.

### W-02

Solve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.

### W-03

Let the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.

### W-04

Seek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.

### W-05

Seek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.

### W-06

Make thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.

### W-07

Design for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.

### W-08

Choose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.

### W-09

Require particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.

### W-10

Give each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.

### W-11

Solve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.

### W-12

Reduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.

### W-13

Establish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.

### W-14

Make the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.

### W-15

Use reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.

### W-16

Seek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.

### W-17

Describe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.

### W-18

Consider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.

### W-19

Preserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.

### W-20

Put communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.

## C — active control questions

### C-01

Which observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.

### C-02

Can this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?

### C-03

What actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?

### C-04

Did simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?

### C-05

Does one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?

### C-06

What dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?

## I — full curriculum of methods and examples

### I-01 — Peter Behrens

Curriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.

### I-02 — A.M. Cassandre

Curriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.

### I-03 — Paul Rand

Curriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.

### I-04 — Saul Bass

Curriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.

### I-05 — Raymond Loewy

Curriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.

### I-06 — Milton Glaser

Curriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.

### I-07 — Ivan Chermayeff

Curriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.

### I-08 — Tom Geismar

Curriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.

### I-09 — Otl Aicher

Curriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.

### I-10 — Yusaku Kamekura

Curriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.

### I-11 — Alan Fletcher

Curriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.

### I-12 — Herb Lubalin

Curriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.

### I-13 — Walter Landor

Curriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.

### I-14 — Carolyn Davidson

Curriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.

### I-15 — Rob Janoff

Curriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.

### I-16 — Lindon Leader

Curriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.

### I-17 — Paula Scher

Curriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.

### I-18 — Henry Steiner

The source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.

### I-19 — Michael Bierut

Curriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.



HISTORICAL REFERENCE MECHANISMS

ATTACHED REFERENCE 2: GI19 / dog & fish
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Direct visual verification
A dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.

Transferable inspiration
**When this is useful:** Two subjects share a contour or figure/ground boundary.

**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.

**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?

ATTACHED REFERENCE 3: ST44 / COUNTERS
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical description
The boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.

Usable formal mechanisms
Make the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.

Fit conditions
Useful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.

Conflicts, risks, and scale or monochrome adaptations
A forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.

What not to copy
Do not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.

ATTACHED REFERENCE 4: ST74 / BRACKETING
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical design description
Let two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.

Usable mechanisms
Two complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.

Fit conditions
Useful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.

Conflicts, scale, monochrome, and adaptations
Generic ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.

What not to copy
Do not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.

The final file contains exactly one logo and no explanatory or comparative content. All production instructions stay outside the visible asset.

release-es-dark.txt

creative/prompts/logos/release-es-dark.txt

TXT · 31,961 B

Pokaż treść
OUTPUT STAGE: STANDALONE LOGO
APPROVED WORDMARK: Semana Mundial de la Lactancia Materna

CRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK

The earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.

RELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY

The owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.

REFERENCE MAP
first image: [APPROVED-ES] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.
second image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.
third image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.
fourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.
END REFERENCE MAP

ACTUAL IDENTITY LOCK

The first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.

Keep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.

EXACT LETTERING IS PART OF THE APPROVED IDENTITY

Use only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.

Only the approved name is visible. Do not print the market key, country, language, mode name, hex value, file name, numbering, annotation, subtitle, slogan, year, offer, percentage, website, registration mark, signature, brandkit title, corporate endorsement, or a reference brand. This call returns a production asset, so its workflow labels remain invisible. A checkerboard, color chip, mode badge, or white rectangle with the logo on it is not part of the logo.

TRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT

The output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.

Preserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.

Think of the PNG as artwork that can be placed over any destination canvas. When the receiving page is dark, the transparent faces and counters reveal that dark page; when it is light, they reveal the light page. Do not bake either destination into this asset. The mode-specific colors below govern only the opaque artwork. A suggestion of a web canvas color is contextual information for contrast, never permission to render a background.

SINGLE-ASSET COMPOSITION AND DELIVERY

Return one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.

FINAL INTERNAL COMPARISON

Before returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.

Then inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.

MODE: DARK TRANSPARENT FLAT LOGO

Preserve the approved flat geometry and replace only its opaque artwork colors. The complete positive mother-and-infant symbol is sRGB #C9A7E1. The entire approved text and both closed-eye crescents are sRGB #F5EEFA. These lighter opaque colors are intended to contrast with a dark website canvas such as #251330. Do not draw that dark canvas, or any other canvas color, inside the PNG. Every original background and negative-space region becomes fully transparent.

Do not invert the topology or fill the faces pale simply because this is dark mode. Both faces reveal the receiving page through alpha; only their two existing eye crescents remain opaque pale lilac. Letter counters reveal the receiving page as well. No depth, bevel, extrusion, grain, metallic effect, shadow, halo, glow, or gradient. This is a clean flat two-color adaptation of the approved actual logo, with every contour and line of text preserved.

EXACT APPROVED COPY TO PRESERVE

Render precisely these 2 approved line(s), unchanged from the first reference:
Semana Mundial
de la Lactancia Materna

COPY RISKS
Keep lowercase de la, exact Lactancia, and feminine Materna. Do not substitute Portuguese Aleitamento or masculine Materno.

# Active generation contract — v4.0.0

This is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.

Read the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.

## D — active design rules

### D-01

FORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.

### D-02

COLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.

### D-03

ONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.

### D-04

MEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.

### D-05

PURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.

### D-06

CONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.

### D-07

READABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.

### D-08

INTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.

### D-09

CONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.

### D-10

NUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.

### D-11

OPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.

### D-12

RESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.

### D-13

COHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.

### D-14

RADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.

### D-15

PURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.

### D-16

AUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.

### D-17

LETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.

## W — active working principles

### W-01

Each candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.

### W-02

Solve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.

### W-03

Let the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.

### W-04

Seek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.

### W-05

Seek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.

### W-06

Make thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.

### W-07

Design for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.

### W-08

Choose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.

### W-09

Require particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.

### W-10

Give each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.

### W-11

Solve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.

### W-12

Reduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.

### W-13

Establish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.

### W-14

Make the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.

### W-15

Use reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.

### W-16

Seek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.

### W-17

Describe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.

### W-18

Consider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.

### W-19

Preserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.

### W-20

Put communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.

## C — active control questions

### C-01

Which observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.

### C-02

Can this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?

### C-03

What actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?

### C-04

Did simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?

### C-05

Does one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?

### C-06

What dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?

## I — full curriculum of methods and examples

### I-01 — Peter Behrens

Curriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.

### I-02 — A.M. Cassandre

Curriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.

### I-03 — Paul Rand

Curriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.

### I-04 — Saul Bass

Curriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.

### I-05 — Raymond Loewy

Curriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.

### I-06 — Milton Glaser

Curriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.

### I-07 — Ivan Chermayeff

Curriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.

### I-08 — Tom Geismar

Curriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.

### I-09 — Otl Aicher

Curriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.

### I-10 — Yusaku Kamekura

Curriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.

### I-11 — Alan Fletcher

Curriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.

### I-12 — Herb Lubalin

Curriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.

### I-13 — Walter Landor

Curriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.

### I-14 — Carolyn Davidson

Curriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.

### I-15 — Rob Janoff

Curriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.

### I-16 — Lindon Leader

Curriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.

### I-17 — Paula Scher

Curriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.

### I-18 — Henry Steiner

The source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.

### I-19 — Michael Bierut

Curriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.



HISTORICAL REFERENCE MECHANISMS

ATTACHED REFERENCE 2: GI19 / dog & fish
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Direct visual verification
A dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.

Transferable inspiration
**When this is useful:** Two subjects share a contour or figure/ground boundary.

**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.

**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?

ATTACHED REFERENCE 3: ST44 / COUNTERS
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical description
The boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.

Usable formal mechanisms
Make the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.

Fit conditions
Useful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.

Conflicts, risks, and scale or monochrome adaptations
A forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.

What not to copy
Do not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.

ATTACHED REFERENCE 4: ST74 / BRACKETING
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical design description
Let two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.

Usable mechanisms
Two complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.

Fit conditions
Useful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.

Conflicts, scale, monochrome, and adaptations
Generic ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.

What not to copy
Do not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.

Preserve the baseline of every approved text line. A physical-looking letter may have a beveled face, but its front silhouette still follows the selected humanist sans design. No letter tilts independently or moves out of alignment.

release-es-full-3d.txt

creative/prompts/logos/release-es-full-3d.txt

TXT · 32,021 B

Pokaż treść
OUTPUT STAGE: STANDALONE LOGO
APPROVED WORDMARK: Semana Mundial de la Lactancia Materna

CRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK

The earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.

RELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY

The owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.

REFERENCE MAP
first image: [APPROVED-ES] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.
second image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.
third image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.
fourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.
END REFERENCE MAP

ACTUAL IDENTITY LOCK

The first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.

Keep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.

EXACT LETTERING IS PART OF THE APPROVED IDENTITY

Use only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.

TRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT

The output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.

Preserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.

SINGLE-ASSET COMPOSITION AND DELIVERY

Return one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.

FINAL INTERNAL COMPARISON

Before returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.

Then inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.

MODE: FULL 3D TRANSPARENT SCULPTURAL LOGO

Transform the positive shapes of the approved logo into a substantial satin violet porcelain-like sculptural object while preserving its precise frontal identity and spelling. Use an orthographic frontal camera so the name remains easy to read and the approved proportions stay recognizable. Extrude the symbol and letters to a clear depth approximately eight percent of the symbol's height, with softly rounded bevels, visible side faces, and controlled occlusion. The result must visibly have depth, not merely a flat purple graphic with a drop shadow.

The symbol's front material is based on #8A5AA5 violet, with realistic lighter highlights and darker purple side shading from a soft upper-left studio light. The wordmark becomes coherent raised sculptural deep-plum lettering based on #4F2873, with the same lettering shapes and exact approved lines. Give the typography its own readable dimensional bevels without making counters close or letters join. Both existing small eye crescents remain deep-plum opaque inlay-like sculptural details in their original locations.

All faces, neck openings, infant openings, letter counters, spaces, and surrounding canvas remain full alpha cutouts through the object. Never fill these spaces with a porcelain plate, skin-colored face, transparent glass, background disc, plaque, connected backing sheet, or floor. Isolated eye marks and isolated letters are permitted floating parts in this logo asset. Use light on the object itself, without a cast shadow on an invented receiving surface. No plinth, stage, jewelry item, extra object, room, border, or photographic scenery.

Maintain the original front-facing symbol silhouette and text arrangement. Extrusion and bevels may introduce physically meaningful side contours, but must not redraw profiles, add eyelashes, erase an accent, obscure an apostrophe, or change the approved words. The material is satin rather than mirror chrome; highlights should clarify the rounding and depth without washing out the lettering. This PNG is a full 3D-style rendered logo asset, not a deliverable mesh or an animated scene.

EXACT APPROVED COPY TO PRESERVE

Render precisely these 2 approved line(s), unchanged from the first reference:
Semana Mundial
de la Lactancia Materna

COPY RISKS
Keep lowercase de la, exact Lactancia, and feminine Materna. Do not substitute Portuguese Aleitamento or masculine Materno.

# Active generation contract — v4.0.0

This is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.

Read the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.

## D — active design rules

### D-01

FORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.

### D-02

COLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.

### D-03

ONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.

### D-04

MEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.

### D-05

PURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.

### D-06

CONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.

### D-07

READABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.

### D-08

INTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.

### D-09

CONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.

### D-10

NUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.

### D-11

OPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.

### D-12

RESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.

### D-13

COHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.

### D-14

RADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.

### D-15

PURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.

### D-16

AUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.

### D-17

LETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.

## W — active working principles

### W-01

Each candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.

### W-02

Solve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.

### W-03

Let the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.

### W-04

Seek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.

### W-05

Seek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.

### W-06

Make thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.

### W-07

Design for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.

### W-08

Choose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.

### W-09

Require particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.

### W-10

Give each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.

### W-11

Solve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.

### W-12

Reduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.

### W-13

Establish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.

### W-14

Make the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.

### W-15

Use reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.

### W-16

Seek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.

### W-17

Describe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.

### W-18

Consider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.

### W-19

Preserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.

### W-20

Put communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.

## C — active control questions

### C-01

Which observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.

### C-02

Can this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?

### C-03

What actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?

### C-04

Did simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?

### C-05

Does one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?

### C-06

What dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?

## I — full curriculum of methods and examples

### I-01 — Peter Behrens

Curriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.

### I-02 — A.M. Cassandre

Curriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.

### I-03 — Paul Rand

Curriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.

### I-04 — Saul Bass

Curriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.

### I-05 — Raymond Loewy

Curriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.

### I-06 — Milton Glaser

Curriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.

### I-07 — Ivan Chermayeff

Curriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.

### I-08 — Tom Geismar

Curriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.

### I-09 — Otl Aicher

Curriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.

### I-10 — Yusaku Kamekura

Curriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.

### I-11 — Alan Fletcher

Curriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.

### I-12 — Herb Lubalin

Curriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.

### I-13 — Walter Landor

Curriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.

### I-14 — Carolyn Davidson

Curriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.

### I-15 — Rob Janoff

Curriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.

### I-16 — Lindon Leader

Curriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.

### I-17 — Paula Scher

Curriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.

### I-18 — Henry Steiner

The source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.

### I-19 — Michael Bierut

Curriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.



HISTORICAL REFERENCE MECHANISMS

ATTACHED REFERENCE 2: GI19 / dog & fish
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Direct visual verification
A dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.

Transferable inspiration
**When this is useful:** Two subjects share a contour or figure/ground boundary.

**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.

**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?

ATTACHED REFERENCE 3: ST44 / COUNTERS
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical description
The boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.

Usable formal mechanisms
Make the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.

Fit conditions
Useful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.

Conflicts, risks, and scale or monochrome adaptations
A forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.

What not to copy
Do not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.

ATTACHED REFERENCE 4: ST74 / BRACKETING
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical design description
Let two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.

Usable mechanisms
Two complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.

Fit conditions
Useful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.

Conflicts, scale, monochrome, and adaptations
Generic ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.

What not to copy
Do not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.

release-es-light.txt

creative/prompts/logos/release-es-light.txt

TXT · 31,928 B

Pokaż treść
OUTPUT STAGE: STANDALONE LOGO
APPROVED WORDMARK: Semana Mundial de la Lactancia Materna

CRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK

The earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.

RELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY

The owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.

REFERENCE MAP
first image: [APPROVED-ES] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.
second image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.
third image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.
fourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.
END REFERENCE MAP

ACTUAL IDENTITY LOCK

The first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.

Keep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.

EXACT LETTERING IS PART OF THE APPROVED IDENTITY

Use only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.

Only the approved name is visible. Do not print the market key, country, language, mode name, hex value, file name, numbering, annotation, subtitle, slogan, year, offer, percentage, website, registration mark, signature, brandkit title, corporate endorsement, or a reference brand. This call returns a production asset, so its workflow labels remain invisible. A checkerboard, color chip, mode badge, or white rectangle with the logo on it is not part of the logo.

TRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT

The output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.

Preserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.

Think of the PNG as artwork that can be placed over any destination canvas. When the receiving page is dark, the transparent faces and counters reveal that dark page; when it is light, they reveal the light page. Do not bake either destination into this asset. The mode-specific colors below govern only the opaque artwork. A suggestion of a web canvas color is contextual information for contrast, never permission to render a background.

SINGLE-ASSET COMPOSITION AND DELIVERY

Return one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.

FINAL INTERNAL COMPARISON

Before returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.

Then inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.

MODE: LIGHT TRANSPARENT FLAT LOGO

Retain the approved flat design. Fill the complete positive mother-and-infant symbol with sRGB #8A5AA5. Fill the entire approved text and both closed-eye crescents with sRGB #4F2873. Keep these colors uniform and opaque. Remove the source background and every pale internal negative shape to full transparency. The light mode means these dark-enough artwork colors are intended for light destination surfaces; it does not mean adding a white or lilac background inside the PNG.

No depth, bevel, extrusion, material reflection, shadow, glow, metallic finish, embossing, gradient, grain, paper texture, or lighting effect. Preserve the source's exact contours and typography. Normal antialiasing may occur at boundaries only. This is the flat light-mode master for web and layout placement, with the source palette retained in the positive artwork and genuine alpha in all empty regions.

EXACT APPROVED COPY TO PRESERVE

Render precisely these 2 approved line(s), unchanged from the first reference:
Semana Mundial
de la Lactancia Materna

COPY RISKS
Keep lowercase de la, exact Lactancia, and feminine Materna. Do not substitute Portuguese Aleitamento or masculine Materno.

# Active generation contract — v4.0.0

This is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.

Read the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.

## D — active design rules

### D-01

FORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.

### D-02

COLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.

### D-03

ONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.

### D-04

MEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.

### D-05

PURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.

### D-06

CONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.

### D-07

READABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.

### D-08

INTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.

### D-09

CONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.

### D-10

NUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.

### D-11

OPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.

### D-12

RESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.

### D-13

COHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.

### D-14

RADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.

### D-15

PURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.

### D-16

AUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.

### D-17

LETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.

## W — active working principles

### W-01

Each candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.

### W-02

Solve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.

### W-03

Let the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.

### W-04

Seek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.

### W-05

Seek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.

### W-06

Make thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.

### W-07

Design for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.

### W-08

Choose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.

### W-09

Require particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.

### W-10

Give each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.

### W-11

Solve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.

### W-12

Reduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.

### W-13

Establish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.

### W-14

Make the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.

### W-15

Use reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.

### W-16

Seek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.

### W-17

Describe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.

### W-18

Consider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.

### W-19

Preserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.

### W-20

Put communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.

## C — active control questions

### C-01

Which observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.

### C-02

Can this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?

### C-03

What actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?

### C-04

Did simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?

### C-05

Does one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?

### C-06

What dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?

## I — full curriculum of methods and examples

### I-01 — Peter Behrens

Curriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.

### I-02 — A.M. Cassandre

Curriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.

### I-03 — Paul Rand

Curriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.

### I-04 — Saul Bass

Curriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.

### I-05 — Raymond Loewy

Curriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.

### I-06 — Milton Glaser

Curriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.

### I-07 — Ivan Chermayeff

Curriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.

### I-08 — Tom Geismar

Curriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.

### I-09 — Otl Aicher

Curriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.

### I-10 — Yusaku Kamekura

Curriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.

### I-11 — Alan Fletcher

Curriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.

### I-12 — Herb Lubalin

Curriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.

### I-13 — Walter Landor

Curriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.

### I-14 — Carolyn Davidson

Curriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.

### I-15 — Rob Janoff

Curriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.

### I-16 — Lindon Leader

Curriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.

### I-17 — Paula Scher

Curriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.

### I-18 — Henry Steiner

The source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.

### I-19 — Michael Bierut

Curriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.



HISTORICAL REFERENCE MECHANISMS

ATTACHED REFERENCE 2: GI19 / dog & fish
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Direct visual verification
A dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.

Transferable inspiration
**When this is useful:** Two subjects share a contour or figure/ground boundary.

**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.

**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?

ATTACHED REFERENCE 3: ST44 / COUNTERS
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical description
The boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.

Usable formal mechanisms
Make the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.

Fit conditions
Useful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.

Conflicts, risks, and scale or monochrome adaptations
A forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.

What not to copy
Do not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.

ATTACHED REFERENCE 4: ST74 / BRACKETING
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical design description
Let two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.

Usable mechanisms
Two complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.

Fit conditions
Useful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.

Conflicts, scale, monochrome, and adaptations
Generic ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.

What not to copy
Do not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.

Preserve the baseline of every approved text line. A physical-looking letter may have a beveled face, but its front silhouette still follows the selected humanist sans design. No letter tilts independently or moves out of alignment.

release-eu-dark.txt

creative/prompts/logos/release-eu-dark.txt

TXT · 31,918 B

Pokaż treść
OUTPUT STAGE: STANDALONE LOGO
APPROVED WORDMARK: International Breastfeeding Week

CRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK

The earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.

RELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY

The owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.

REFERENCE MAP
first image: [APPROVED-EU] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.
second image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.
third image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.
fourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.
END REFERENCE MAP

ACTUAL IDENTITY LOCK

The first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.

Keep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.

EXACT LETTERING IS PART OF THE APPROVED IDENTITY

Use only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.

Only the approved name is visible. Do not print the market key, country, language, mode name, hex value, file name, numbering, annotation, subtitle, slogan, year, offer, percentage, website, registration mark, signature, brandkit title, corporate endorsement, or a reference brand. This call returns a production asset, so its workflow labels remain invisible. A checkerboard, color chip, mode badge, or white rectangle with the logo on it is not part of the logo.

TRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT

The output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.

Preserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.

Think of the PNG as artwork that can be placed over any destination canvas. When the receiving page is dark, the transparent faces and counters reveal that dark page; when it is light, they reveal the light page. Do not bake either destination into this asset. The mode-specific colors below govern only the opaque artwork. A suggestion of a web canvas color is contextual information for contrast, never permission to render a background.

SINGLE-ASSET COMPOSITION AND DELIVERY

Return one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.

FINAL INTERNAL COMPARISON

Before returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.

Then inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.

MODE: DARK TRANSPARENT FLAT LOGO

Preserve the approved flat geometry and replace only its opaque artwork colors. The complete positive mother-and-infant symbol is sRGB #C9A7E1. The entire approved text and both closed-eye crescents are sRGB #F5EEFA. These lighter opaque colors are intended to contrast with a dark website canvas such as #251330. Do not draw that dark canvas, or any other canvas color, inside the PNG. Every original background and negative-space region becomes fully transparent.

Do not invert the topology or fill the faces pale simply because this is dark mode. Both faces reveal the receiving page through alpha; only their two existing eye crescents remain opaque pale lilac. Letter counters reveal the receiving page as well. No depth, bevel, extrusion, grain, metallic effect, shadow, halo, glow, or gradient. This is a clean flat two-color adaptation of the approved actual logo, with every contour and line of text preserved.

EXACT APPROVED COPY TO PRESERVE

Render precisely these 2 approved line(s), unchanged from the first reference:
International
Breastfeeding Week

COPY RISKS
Breastfeeding is one exact word; keep International intact, and do not use Babywearing here.

# Active generation contract — v4.0.0

This is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.

Read the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.

## D — active design rules

### D-01

FORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.

### D-02

COLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.

### D-03

ONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.

### D-04

MEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.

### D-05

PURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.

### D-06

CONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.

### D-07

READABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.

### D-08

INTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.

### D-09

CONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.

### D-10

NUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.

### D-11

OPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.

### D-12

RESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.

### D-13

COHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.

### D-14

RADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.

### D-15

PURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.

### D-16

AUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.

### D-17

LETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.

## W — active working principles

### W-01

Each candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.

### W-02

Solve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.

### W-03

Let the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.

### W-04

Seek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.

### W-05

Seek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.

### W-06

Make thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.

### W-07

Design for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.

### W-08

Choose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.

### W-09

Require particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.

### W-10

Give each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.

### W-11

Solve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.

### W-12

Reduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.

### W-13

Establish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.

### W-14

Make the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.

### W-15

Use reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.

### W-16

Seek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.

### W-17

Describe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.

### W-18

Consider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.

### W-19

Preserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.

### W-20

Put communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.

## C — active control questions

### C-01

Which observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.

### C-02

Can this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?

### C-03

What actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?

### C-04

Did simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?

### C-05

Does one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?

### C-06

What dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?

## I — full curriculum of methods and examples

### I-01 — Peter Behrens

Curriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.

### I-02 — A.M. Cassandre

Curriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.

### I-03 — Paul Rand

Curriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.

### I-04 — Saul Bass

Curriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.

### I-05 — Raymond Loewy

Curriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.

### I-06 — Milton Glaser

Curriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.

### I-07 — Ivan Chermayeff

Curriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.

### I-08 — Tom Geismar

Curriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.

### I-09 — Otl Aicher

Curriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.

### I-10 — Yusaku Kamekura

Curriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.

### I-11 — Alan Fletcher

Curriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.

### I-12 — Herb Lubalin

Curriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.

### I-13 — Walter Landor

Curriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.

### I-14 — Carolyn Davidson

Curriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.

### I-15 — Rob Janoff

Curriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.

### I-16 — Lindon Leader

Curriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.

### I-17 — Paula Scher

Curriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.

### I-18 — Henry Steiner

The source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.

### I-19 — Michael Bierut

Curriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.



HISTORICAL REFERENCE MECHANISMS

ATTACHED REFERENCE 2: GI19 / dog & fish
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Direct visual verification
A dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.

Transferable inspiration
**When this is useful:** Two subjects share a contour or figure/ground boundary.

**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.

**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?

ATTACHED REFERENCE 3: ST44 / COUNTERS
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical description
The boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.

Usable formal mechanisms
Make the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.

Fit conditions
Useful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.

Conflicts, risks, and scale or monochrome adaptations
A forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.

What not to copy
Do not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.

ATTACHED REFERENCE 4: ST74 / BRACKETING
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical design description
Let two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.

Usable mechanisms
Two complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.

Fit conditions
Useful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.

Conflicts, scale, monochrome, and adaptations
Generic ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.

What not to copy
Do not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.

Preserve the baseline of every approved text line. A physical-looking letter may have a beveled face, but its front silhouette still follows the selected humanist sans design. No letter tilts independently or moves out of alignment.

release-eu-full-3d.txt

creative/prompts/logos/release-eu-full-3d.txt

TXT · 31,978 B

Pokaż treść
OUTPUT STAGE: STANDALONE LOGO
APPROVED WORDMARK: International Breastfeeding Week

CRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK

The earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.

RELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY

The owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.

REFERENCE MAP
first image: [APPROVED-EU] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.
second image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.
third image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.
fourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.
END REFERENCE MAP

ACTUAL IDENTITY LOCK

The first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.

Keep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.

EXACT LETTERING IS PART OF THE APPROVED IDENTITY

Use only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.

TRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT

The output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.

Preserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.

SINGLE-ASSET COMPOSITION AND DELIVERY

Return one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.

FINAL INTERNAL COMPARISON

Before returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.

Then inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.

MODE: FULL 3D TRANSPARENT SCULPTURAL LOGO

Transform the positive shapes of the approved logo into a substantial satin violet porcelain-like sculptural object while preserving its precise frontal identity and spelling. Use an orthographic frontal camera so the name remains easy to read and the approved proportions stay recognizable. Extrude the symbol and letters to a clear depth approximately eight percent of the symbol's height, with softly rounded bevels, visible side faces, and controlled occlusion. The result must visibly have depth, not merely a flat purple graphic with a drop shadow.

The symbol's front material is based on #8A5AA5 violet, with realistic lighter highlights and darker purple side shading from a soft upper-left studio light. The wordmark becomes coherent raised sculptural deep-plum lettering based on #4F2873, with the same lettering shapes and exact approved lines. Give the typography its own readable dimensional bevels without making counters close or letters join. Both existing small eye crescents remain deep-plum opaque inlay-like sculptural details in their original locations.

All faces, neck openings, infant openings, letter counters, spaces, and surrounding canvas remain full alpha cutouts through the object. Never fill these spaces with a porcelain plate, skin-colored face, transparent glass, background disc, plaque, connected backing sheet, or floor. Isolated eye marks and isolated letters are permitted floating parts in this logo asset. Use light on the object itself, without a cast shadow on an invented receiving surface. No plinth, stage, jewelry item, extra object, room, border, or photographic scenery.

Maintain the original front-facing symbol silhouette and text arrangement. Extrusion and bevels may introduce physically meaningful side contours, but must not redraw profiles, add eyelashes, erase an accent, obscure an apostrophe, or change the approved words. The material is satin rather than mirror chrome; highlights should clarify the rounding and depth without washing out the lettering. This PNG is a full 3D-style rendered logo asset, not a deliverable mesh or an animated scene.

EXACT APPROVED COPY TO PRESERVE

Render precisely these 2 approved line(s), unchanged from the first reference:
International
Breastfeeding Week

COPY RISKS
Breastfeeding is one exact word; keep International intact, and do not use Babywearing here.

# Active generation contract — v4.0.0

This is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.

Read the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.

## D — active design rules

### D-01

FORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.

### D-02

COLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.

### D-03

ONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.

### D-04

MEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.

### D-05

PURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.

### D-06

CONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.

### D-07

READABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.

### D-08

INTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.

### D-09

CONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.

### D-10

NUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.

### D-11

OPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.

### D-12

RESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.

### D-13

COHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.

### D-14

RADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.

### D-15

PURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.

### D-16

AUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.

### D-17

LETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.

## W — active working principles

### W-01

Each candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.

### W-02

Solve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.

### W-03

Let the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.

### W-04

Seek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.

### W-05

Seek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.

### W-06

Make thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.

### W-07

Design for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.

### W-08

Choose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.

### W-09

Require particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.

### W-10

Give each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.

### W-11

Solve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.

### W-12

Reduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.

### W-13

Establish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.

### W-14

Make the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.

### W-15

Use reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.

### W-16

Seek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.

### W-17

Describe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.

### W-18

Consider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.

### W-19

Preserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.

### W-20

Put communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.

## C — active control questions

### C-01

Which observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.

### C-02

Can this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?

### C-03

What actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?

### C-04

Did simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?

### C-05

Does one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?

### C-06

What dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?

## I — full curriculum of methods and examples

### I-01 — Peter Behrens

Curriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.

### I-02 — A.M. Cassandre

Curriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.

### I-03 — Paul Rand

Curriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.

### I-04 — Saul Bass

Curriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.

### I-05 — Raymond Loewy

Curriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.

### I-06 — Milton Glaser

Curriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.

### I-07 — Ivan Chermayeff

Curriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.

### I-08 — Tom Geismar

Curriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.

### I-09 — Otl Aicher

Curriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.

### I-10 — Yusaku Kamekura

Curriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.

### I-11 — Alan Fletcher

Curriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.

### I-12 — Herb Lubalin

Curriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.

### I-13 — Walter Landor

Curriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.

### I-14 — Carolyn Davidson

Curriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.

### I-15 — Rob Janoff

Curriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.

### I-16 — Lindon Leader

Curriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.

### I-17 — Paula Scher

Curriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.

### I-18 — Henry Steiner

The source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.

### I-19 — Michael Bierut

Curriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.



HISTORICAL REFERENCE MECHANISMS

ATTACHED REFERENCE 2: GI19 / dog & fish
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Direct visual verification
A dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.

Transferable inspiration
**When this is useful:** Two subjects share a contour or figure/ground boundary.

**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.

**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?

ATTACHED REFERENCE 3: ST44 / COUNTERS
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical description
The boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.

Usable formal mechanisms
Make the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.

Fit conditions
Useful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.

Conflicts, risks, and scale or monochrome adaptations
A forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.

What not to copy
Do not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.

ATTACHED REFERENCE 4: ST74 / BRACKETING
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical design description
Let two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.

Usable mechanisms
Two complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.

Fit conditions
Useful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.

Conflicts, scale, monochrome, and adaptations
Generic ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.

What not to copy
Do not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.

release-eu-light.txt

creative/prompts/logos/release-eu-light.txt

TXT · 32,019 B

Pokaż treść
OUTPUT STAGE: STANDALONE LOGO
APPROVED WORDMARK: International Breastfeeding Week

CRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK

The earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.

RELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY

The owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.

REFERENCE MAP
first image: [APPROVED-EU] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.
second image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.
third image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.
fourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.
END REFERENCE MAP

ACTUAL IDENTITY LOCK

The first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.

Keep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.

EXACT LETTERING IS PART OF THE APPROVED IDENTITY

Use only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.

Only the approved name is visible. Do not print the market key, country, language, mode name, hex value, file name, numbering, annotation, subtitle, slogan, year, offer, percentage, website, registration mark, signature, brandkit title, corporate endorsement, or a reference brand. This call returns a production asset, so its workflow labels remain invisible. A checkerboard, color chip, mode badge, or white rectangle with the logo on it is not part of the logo.

TRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT

The output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.

Preserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.

Think of the PNG as artwork that can be placed over any destination canvas. When the receiving page is dark, the transparent faces and counters reveal that dark page; when it is light, they reveal the light page. Do not bake either destination into this asset. The mode-specific colors below govern only the opaque artwork. A suggestion of a web canvas color is contextual information for contrast, never permission to render a background.

SINGLE-ASSET COMPOSITION AND DELIVERY

Return one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.

FINAL INTERNAL COMPARISON

Before returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.

Then inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.

MODE: LIGHT TRANSPARENT FLAT LOGO

Retain the approved flat design. Fill the complete positive mother-and-infant symbol with sRGB #8A5AA5. Fill the entire approved text and both closed-eye crescents with sRGB #4F2873. Keep these colors uniform and opaque. Remove the source background and every pale internal negative shape to full transparency. The light mode means these dark-enough artwork colors are intended for light destination surfaces; it does not mean adding a white or lilac background inside the PNG.

No depth, bevel, extrusion, material reflection, shadow, glow, metallic finish, embossing, gradient, grain, paper texture, or lighting effect. Preserve the source's exact contours and typography. Normal antialiasing may occur at boundaries only. This is the flat light-mode master for web and layout placement, with the source palette retained in the positive artwork and genuine alpha in all empty regions.

EXACT APPROVED COPY TO PRESERVE

Render precisely these 2 approved line(s), unchanged from the first reference:
International
Breastfeeding Week

COPY RISKS
Breastfeeding is one exact word; keep International intact, and do not use Babywearing here.

# Active generation contract — v4.0.0

This is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.

Read the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.

## D — active design rules

### D-01

FORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.

### D-02

COLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.

### D-03

ONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.

### D-04

MEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.

### D-05

PURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.

### D-06

CONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.

### D-07

READABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.

### D-08

INTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.

### D-09

CONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.

### D-10

NUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.

### D-11

OPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.

### D-12

RESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.

### D-13

COHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.

### D-14

RADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.

### D-15

PURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.

### D-16

AUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.

### D-17

LETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.

## W — active working principles

### W-01

Each candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.

### W-02

Solve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.

### W-03

Let the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.

### W-04

Seek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.

### W-05

Seek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.

### W-06

Make thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.

### W-07

Design for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.

### W-08

Choose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.

### W-09

Require particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.

### W-10

Give each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.

### W-11

Solve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.

### W-12

Reduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.

### W-13

Establish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.

### W-14

Make the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.

### W-15

Use reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.

### W-16

Seek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.

### W-17

Describe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.

### W-18

Consider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.

### W-19

Preserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.

### W-20

Put communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.

## C — active control questions

### C-01

Which observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.

### C-02

Can this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?

### C-03

What actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?

### C-04

Did simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?

### C-05

Does one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?

### C-06

What dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?

## I — full curriculum of methods and examples

### I-01 — Peter Behrens

Curriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.

### I-02 — A.M. Cassandre

Curriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.

### I-03 — Paul Rand

Curriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.

### I-04 — Saul Bass

Curriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.

### I-05 — Raymond Loewy

Curriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.

### I-06 — Milton Glaser

Curriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.

### I-07 — Ivan Chermayeff

Curriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.

### I-08 — Tom Geismar

Curriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.

### I-09 — Otl Aicher

Curriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.

### I-10 — Yusaku Kamekura

Curriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.

### I-11 — Alan Fletcher

Curriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.

### I-12 — Herb Lubalin

Curriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.

### I-13 — Walter Landor

Curriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.

### I-14 — Carolyn Davidson

Curriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.

### I-15 — Rob Janoff

Curriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.

### I-16 — Lindon Leader

Curriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.

### I-17 — Paula Scher

Curriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.

### I-18 — Henry Steiner

The source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.

### I-19 — Michael Bierut

Curriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.



HISTORICAL REFERENCE MECHANISMS

ATTACHED REFERENCE 2: GI19 / dog & fish
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Direct visual verification
A dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.

Transferable inspiration
**When this is useful:** Two subjects share a contour or figure/ground boundary.

**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.

**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?

ATTACHED REFERENCE 3: ST44 / COUNTERS
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical description
The boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.

Usable formal mechanisms
Make the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.

Fit conditions
Useful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.

Conflicts, risks, and scale or monochrome adaptations
A forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.

What not to copy
Do not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.

ATTACHED REFERENCE 4: ST74 / BRACKETING
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical design description
Let two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.

Usable mechanisms
Two complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.

Fit conditions
Useful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.

Conflicts, scale, monochrome, and adaptations
Generic ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.

What not to copy
Do not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.

Transparent clear space must be continuous all the way to the outer canvas edges. No faint pale rectangle, edge stroke, vignette, or residual source background should survive around the artwork.

An empty transparent pixel is not a pale paint sample. Removing the source background includes the enclosed faces and letter holes, not only the outer rectangular canvas.

release-fr-dark.txt

creative/prompts/logos/release-fr-dark.txt

TXT · 32,012 B

Pokaż treść
OUTPUT STAGE: STANDALONE LOGO
APPROVED WORDMARK: Semaine Mondiale de l'Allaitement Maternel

CRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK

The earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.

RELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY

The owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.

REFERENCE MAP
first image: [APPROVED-FR] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.
second image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.
third image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.
fourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.
END REFERENCE MAP

ACTUAL IDENTITY LOCK

The first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.

Keep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.

EXACT LETTERING IS PART OF THE APPROVED IDENTITY

Use only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.

Only the approved name is visible. Do not print the market key, country, language, mode name, hex value, file name, numbering, annotation, subtitle, slogan, year, offer, percentage, website, registration mark, signature, brandkit title, corporate endorsement, or a reference brand. This call returns a production asset, so its workflow labels remain invisible. A checkerboard, color chip, mode badge, or white rectangle with the logo on it is not part of the logo.

TRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT

The output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.

Preserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.

Think of the PNG as artwork that can be placed over any destination canvas. When the receiving page is dark, the transparent faces and counters reveal that dark page; when it is light, they reveal the light page. Do not bake either destination into this asset. The mode-specific colors below govern only the opaque artwork. A suggestion of a web canvas color is contextual information for contrast, never permission to render a background.

SINGLE-ASSET COMPOSITION AND DELIVERY

Return one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.

FINAL INTERNAL COMPARISON

Before returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.

Then inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.

MODE: DARK TRANSPARENT FLAT LOGO

Preserve the approved flat geometry and replace only its opaque artwork colors. The complete positive mother-and-infant symbol is sRGB #C9A7E1. The entire approved text and both closed-eye crescents are sRGB #F5EEFA. These lighter opaque colors are intended to contrast with a dark website canvas such as #251330. Do not draw that dark canvas, or any other canvas color, inside the PNG. Every original background and negative-space region becomes fully transparent.

Do not invert the topology or fill the faces pale simply because this is dark mode. Both faces reveal the receiving page through alpha; only their two existing eye crescents remain opaque pale lilac. Letter counters reveal the receiving page as well. No depth, bevel, extrusion, grain, metallic effect, shadow, halo, glow, or gradient. This is a clean flat two-color adaptation of the approved actual logo, with every contour and line of text preserved.

EXACT APPROVED COPY TO PRESERVE

Render precisely these 2 approved line(s), unchanged from the first reference:
Semaine Mondiale
de l'Allaitement Maternel

COPY RISKS
Preserve uppercase S, M, A, M as supplied and lowercase de l. Keep the apostrophe, Allaitement with double l, and final Maternel. Distinct from shorter sentence-case Belgian French.

# Active generation contract — v4.0.0

This is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.

Read the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.

## D — active design rules

### D-01

FORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.

### D-02

COLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.

### D-03

ONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.

### D-04

MEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.

### D-05

PURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.

### D-06

CONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.

### D-07

READABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.

### D-08

INTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.

### D-09

CONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.

### D-10

NUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.

### D-11

OPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.

### D-12

RESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.

### D-13

COHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.

### D-14

RADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.

### D-15

PURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.

### D-16

AUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.

### D-17

LETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.

## W — active working principles

### W-01

Each candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.

### W-02

Solve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.

### W-03

Let the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.

### W-04

Seek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.

### W-05

Seek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.

### W-06

Make thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.

### W-07

Design for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.

### W-08

Choose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.

### W-09

Require particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.

### W-10

Give each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.

### W-11

Solve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.

### W-12

Reduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.

### W-13

Establish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.

### W-14

Make the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.

### W-15

Use reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.

### W-16

Seek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.

### W-17

Describe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.

### W-18

Consider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.

### W-19

Preserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.

### W-20

Put communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.

## C — active control questions

### C-01

Which observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.

### C-02

Can this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?

### C-03

What actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?

### C-04

Did simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?

### C-05

Does one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?

### C-06

What dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?

## I — full curriculum of methods and examples

### I-01 — Peter Behrens

Curriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.

### I-02 — A.M. Cassandre

Curriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.

### I-03 — Paul Rand

Curriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.

### I-04 — Saul Bass

Curriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.

### I-05 — Raymond Loewy

Curriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.

### I-06 — Milton Glaser

Curriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.

### I-07 — Ivan Chermayeff

Curriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.

### I-08 — Tom Geismar

Curriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.

### I-09 — Otl Aicher

Curriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.

### I-10 — Yusaku Kamekura

Curriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.

### I-11 — Alan Fletcher

Curriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.

### I-12 — Herb Lubalin

Curriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.

### I-13 — Walter Landor

Curriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.

### I-14 — Carolyn Davidson

Curriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.

### I-15 — Rob Janoff

Curriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.

### I-16 — Lindon Leader

Curriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.

### I-17 — Paula Scher

Curriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.

### I-18 — Henry Steiner

The source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.

### I-19 — Michael Bierut

Curriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.



HISTORICAL REFERENCE MECHANISMS

ATTACHED REFERENCE 2: GI19 / dog & fish
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Direct visual verification
A dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.

Transferable inspiration
**When this is useful:** Two subjects share a contour or figure/ground boundary.

**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.

**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?

ATTACHED REFERENCE 3: ST44 / COUNTERS
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical description
The boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.

Usable formal mechanisms
Make the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.

Fit conditions
Useful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.

Conflicts, risks, and scale or monochrome adaptations
A forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.

What not to copy
Do not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.

ATTACHED REFERENCE 4: ST74 / BRACKETING
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical design description
Let two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.

Usable mechanisms
Two complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.

Fit conditions
Useful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.

Conflicts, scale, monochrome, and adaptations
Generic ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.

What not to copy
Do not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.

Inspect the two closed eyes separately from the large surrounding openings. Background removal should leave each eye intact as a small positive crescent, surrounded by genuine alpha rather than an opaque facial patch.

release-fr-full-3d.txt

creative/prompts/logos/release-fr-full-3d.txt

TXT · 32,017 B

Pokaż treść
OUTPUT STAGE: STANDALONE LOGO
APPROVED WORDMARK: Semaine Mondiale de l'Allaitement Maternel

CRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK

The earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.

RELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY

The owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.

REFERENCE MAP
first image: [APPROVED-FR] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.
second image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.
third image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.
fourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.
END REFERENCE MAP

ACTUAL IDENTITY LOCK

The first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.

EXACT LETTERING IS PART OF THE APPROVED IDENTITY

Use only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.

TRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT

The output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.

Preserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.

SINGLE-ASSET COMPOSITION AND DELIVERY

Return one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.

FINAL INTERNAL COMPARISON

Before returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.

Then inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.

MODE: FULL 3D TRANSPARENT SCULPTURAL LOGO

Transform the positive shapes of the approved logo into a substantial satin violet porcelain-like sculptural object while preserving its precise frontal identity and spelling. Use an orthographic frontal camera so the name remains easy to read and the approved proportions stay recognizable. Extrude the symbol and letters to a clear depth approximately eight percent of the symbol's height, with softly rounded bevels, visible side faces, and controlled occlusion. The result must visibly have depth, not merely a flat purple graphic with a drop shadow.

The symbol's front material is based on #8A5AA5 violet, with realistic lighter highlights and darker purple side shading from a soft upper-left studio light. The wordmark becomes coherent raised sculptural deep-plum lettering based on #4F2873, with the same lettering shapes and exact approved lines. Give the typography its own readable dimensional bevels without making counters close or letters join. Both existing small eye crescents remain deep-plum opaque inlay-like sculptural details in their original locations.

All faces, neck openings, infant openings, letter counters, spaces, and surrounding canvas remain full alpha cutouts through the object. Never fill these spaces with a porcelain plate, skin-colored face, transparent glass, background disc, plaque, connected backing sheet, or floor. Isolated eye marks and isolated letters are permitted floating parts in this logo asset. Use light on the object itself, without a cast shadow on an invented receiving surface. No plinth, stage, jewelry item, extra object, room, border, or photographic scenery.

Maintain the original front-facing symbol silhouette and text arrangement. Extrusion and bevels may introduce physically meaningful side contours, but must not redraw profiles, add eyelashes, erase an accent, obscure an apostrophe, or change the approved words. The material is satin rather than mirror chrome; highlights should clarify the rounding and depth without washing out the lettering. This PNG is a full 3D-style rendered logo asset, not a deliverable mesh or an animated scene.

EXACT APPROVED COPY TO PRESERVE

Render precisely these 2 approved line(s), unchanged from the first reference:
Semaine Mondiale
de l'Allaitement Maternel

COPY RISKS
Preserve uppercase S, M, A, M as supplied and lowercase de l. Keep the apostrophe, Allaitement with double l, and final Maternel. Distinct from shorter sentence-case Belgian French.

# Active generation contract — v4.0.0

This is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.

Read the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.

## D — active design rules

### D-01

FORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.

### D-02

COLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.

### D-03

ONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.

### D-04

MEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.

### D-05

PURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.

### D-06

CONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.

### D-07

READABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.

### D-08

INTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.

### D-09

CONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.

### D-10

NUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.

### D-11

OPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.

### D-12

RESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.

### D-13

COHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.

### D-14

RADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.

### D-15

PURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.

### D-16

AUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.

### D-17

LETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.

## W — active working principles

### W-01

Each candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.

### W-02

Solve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.

### W-03

Let the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.

### W-04

Seek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.

### W-05

Seek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.

### W-06

Make thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.

### W-07

Design for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.

### W-08

Choose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.

### W-09

Require particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.

### W-10

Give each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.

### W-11

Solve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.

### W-12

Reduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.

### W-13

Establish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.

### W-14

Make the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.

### W-15

Use reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.

### W-16

Seek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.

### W-17

Describe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.

### W-18

Consider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.

### W-19

Preserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.

### W-20

Put communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.

## C — active control questions

### C-01

Which observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.

### C-02

Can this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?

### C-03

What actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?

### C-04

Did simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?

### C-05

Does one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?

### C-06

What dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?

## I — full curriculum of methods and examples

### I-01 — Peter Behrens

Curriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.

### I-02 — A.M. Cassandre

Curriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.

### I-03 — Paul Rand

Curriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.

### I-04 — Saul Bass

Curriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.

### I-05 — Raymond Loewy

Curriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.

### I-06 — Milton Glaser

Curriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.

### I-07 — Ivan Chermayeff

Curriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.

### I-08 — Tom Geismar

Curriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.

### I-09 — Otl Aicher

Curriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.

### I-10 — Yusaku Kamekura

Curriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.

### I-11 — Alan Fletcher

Curriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.

### I-12 — Herb Lubalin

Curriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.

### I-13 — Walter Landor

Curriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.

### I-14 — Carolyn Davidson

Curriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.

### I-15 — Rob Janoff

Curriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.

### I-16 — Lindon Leader

Curriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.

### I-17 — Paula Scher

Curriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.

### I-18 — Henry Steiner

The source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.

### I-19 — Michael Bierut

Curriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.



HISTORICAL REFERENCE MECHANISMS

ATTACHED REFERENCE 2: GI19 / dog & fish
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Direct visual verification
A dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.

Transferable inspiration
**When this is useful:** Two subjects share a contour or figure/ground boundary.

**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.

**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?

ATTACHED REFERENCE 3: ST44 / COUNTERS
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical description
The boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.

Usable formal mechanisms
Make the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.

Fit conditions
Useful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.

Conflicts, risks, and scale or monochrome adaptations
A forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.

What not to copy
Do not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.

ATTACHED REFERENCE 4: ST74 / BRACKETING
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical design description
Let two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.

Usable mechanisms
Two complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.

Fit conditions
Useful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.

Conflicts, scale, monochrome, and adaptations
Generic ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.

What not to copy
Do not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.

Preserve the baseline of every approved text line. A physical-looking letter may have a beveled face, but its front silhouette still follows the selected humanist sans design. No letter tilts independently or moves out of alignment.

Inspect the two closed eyes separately from the large surrounding openings. Background removal should leave each eye intact as a small positive crescent, surrounded by genuine alpha rather than an opaque facial patch.

release-fr-light.txt

creative/prompts/logos/release-fr-light.txt

TXT · 31,994 B

Pokaż treść
OUTPUT STAGE: STANDALONE LOGO
APPROVED WORDMARK: Semaine Mondiale de l'Allaitement Maternel

CRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK

The earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.

RELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY

The owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.

REFERENCE MAP
first image: [APPROVED-FR] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.
second image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.
third image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.
fourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.
END REFERENCE MAP

ACTUAL IDENTITY LOCK

The first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.

Keep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.

EXACT LETTERING IS PART OF THE APPROVED IDENTITY

Use only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.

Only the approved name is visible. Do not print the market key, country, language, mode name, hex value, file name, numbering, annotation, subtitle, slogan, year, offer, percentage, website, registration mark, signature, brandkit title, corporate endorsement, or a reference brand. This call returns a production asset, so its workflow labels remain invisible. A checkerboard, color chip, mode badge, or white rectangle with the logo on it is not part of the logo.

TRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT

The output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.

Preserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.

Think of the PNG as artwork that can be placed over any destination canvas. When the receiving page is dark, the transparent faces and counters reveal that dark page; when it is light, they reveal the light page. Do not bake either destination into this asset. The mode-specific colors below govern only the opaque artwork. A suggestion of a web canvas color is contextual information for contrast, never permission to render a background.

SINGLE-ASSET COMPOSITION AND DELIVERY

Return one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.

FINAL INTERNAL COMPARISON

Before returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.

Then inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.

MODE: LIGHT TRANSPARENT FLAT LOGO

Retain the approved flat design. Fill the complete positive mother-and-infant symbol with sRGB #8A5AA5. Fill the entire approved text and both closed-eye crescents with sRGB #4F2873. Keep these colors uniform and opaque. Remove the source background and every pale internal negative shape to full transparency. The light mode means these dark-enough artwork colors are intended for light destination surfaces; it does not mean adding a white or lilac background inside the PNG.

No depth, bevel, extrusion, material reflection, shadow, glow, metallic finish, embossing, gradient, grain, paper texture, or lighting effect. Preserve the source's exact contours and typography. Normal antialiasing may occur at boundaries only. This is the flat light-mode master for web and layout placement, with the source palette retained in the positive artwork and genuine alpha in all empty regions.

EXACT APPROVED COPY TO PRESERVE

Render precisely these 2 approved line(s), unchanged from the first reference:
Semaine Mondiale
de l'Allaitement Maternel

COPY RISKS
Preserve uppercase S, M, A, M as supplied and lowercase de l. Keep the apostrophe, Allaitement with double l, and final Maternel. Distinct from shorter sentence-case Belgian French.

# Active generation contract — v4.0.0

This is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.

Read the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.

## D — active design rules

### D-01

FORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.

### D-02

COLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.

### D-03

ONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.

### D-04

MEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.

### D-05

PURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.

### D-06

CONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.

### D-07

READABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.

### D-08

INTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.

### D-09

CONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.

### D-10

NUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.

### D-11

OPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.

### D-12

RESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.

### D-13

COHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.

### D-14

RADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.

### D-15

PURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.

### D-16

AUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.

### D-17

LETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.

## W — active working principles

### W-01

Each candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.

### W-02

Solve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.

### W-03

Let the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.

### W-04

Seek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.

### W-05

Seek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.

### W-06

Make thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.

### W-07

Design for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.

### W-08

Choose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.

### W-09

Require particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.

### W-10

Give each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.

### W-11

Solve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.

### W-12

Reduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.

### W-13

Establish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.

### W-14

Make the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.

### W-15

Use reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.

### W-16

Seek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.

### W-17

Describe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.

### W-18

Consider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.

### W-19

Preserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.

### W-20

Put communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.

## C — active control questions

### C-01

Which observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.

### C-02

Can this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?

### C-03

What actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?

### C-04

Did simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?

### C-05

Does one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?

### C-06

What dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?

## I — full curriculum of methods and examples

### I-01 — Peter Behrens

Curriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.

### I-02 — A.M. Cassandre

Curriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.

### I-03 — Paul Rand

Curriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.

### I-04 — Saul Bass

Curriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.

### I-05 — Raymond Loewy

Curriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.

### I-06 — Milton Glaser

Curriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.

### I-07 — Ivan Chermayeff

Curriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.

### I-08 — Tom Geismar

Curriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.

### I-09 — Otl Aicher

Curriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.

### I-10 — Yusaku Kamekura

Curriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.

### I-11 — Alan Fletcher

Curriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.

### I-12 — Herb Lubalin

Curriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.

### I-13 — Walter Landor

Curriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.

### I-14 — Carolyn Davidson

Curriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.

### I-15 — Rob Janoff

Curriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.

### I-16 — Lindon Leader

Curriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.

### I-17 — Paula Scher

Curriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.

### I-18 — Henry Steiner

The source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.

### I-19 — Michael Bierut

Curriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.



HISTORICAL REFERENCE MECHANISMS

ATTACHED REFERENCE 2: GI19 / dog & fish
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Direct visual verification
A dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.

Transferable inspiration
**When this is useful:** Two subjects share a contour or figure/ground boundary.

**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.

**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?

ATTACHED REFERENCE 3: ST44 / COUNTERS
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical description
The boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.

Usable formal mechanisms
Make the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.

Fit conditions
Useful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.

Conflicts, risks, and scale or monochrome adaptations
A forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.

What not to copy
Do not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.

ATTACHED REFERENCE 4: ST74 / BRACKETING
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical design description
Let two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.

Usable mechanisms
Two complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.

Fit conditions
Useful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.

Conflicts, scale, monochrome, and adaptations
Generic ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.

What not to copy
Do not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.

Preserve the baseline of every approved text line. A physical-looking letter may have a beveled face, but its front silhouette still follows the selected humanist sans design. No letter tilts independently or moves out of alignment.

release-it-dark.txt

creative/prompts/logos/release-it-dark.txt

TXT · 32,020 B

Pokaż treść
OUTPUT STAGE: STANDALONE LOGO
APPROVED WORDMARK: SAM – Settimana Mondiale per l'Allattamento Materno

CRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK

The earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.

RELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY

The owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.

REFERENCE MAP
first image: [APPROVED-IT] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.
second image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.
third image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.
fourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.
END REFERENCE MAP

ACTUAL IDENTITY LOCK

The first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.

Keep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.

EXACT LETTERING IS PART OF THE APPROVED IDENTITY

Use only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.

Only the approved name is visible. Do not print the market key, country, language, mode name, hex value, file name, numbering, annotation, subtitle, slogan, year, offer, percentage, website, registration mark, signature, brandkit title, corporate endorsement, or a reference brand. This call returns a production asset, so its workflow labels remain invisible. A checkerboard, color chip, mode badge, or white rectangle with the logo on it is not part of the logo.

TRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT

The output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.

Preserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.

Think of the PNG as artwork that can be placed over any destination canvas. When the receiving page is dark, the transparent faces and counters reveal that dark page; when it is light, they reveal the light page. Do not bake either destination into this asset. The mode-specific colors below govern only the opaque artwork. A suggestion of a web canvas color is contextual information for contrast, never permission to render a background.

SINGLE-ASSET COMPOSITION AND DELIVERY

Return one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.

FINAL INTERNAL COMPARISON

Before returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.

Then inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.

MODE: DARK TRANSPARENT FLAT LOGO

Preserve the approved flat geometry and replace only its opaque artwork colors. The complete positive mother-and-infant symbol is sRGB #C9A7E1. The entire approved text and both closed-eye crescents are sRGB #F5EEFA. These lighter opaque colors are intended to contrast with a dark website canvas such as #251330. Do not draw that dark canvas, or any other canvas color, inside the PNG. Every original background and negative-space region becomes fully transparent.

Do not invert the topology or fill the faces pale simply because this is dark mode. Both faces reveal the receiving page through alpha; only their two existing eye crescents remain opaque pale lilac. Letter counters reveal the receiving page as well. No depth, bevel, extrusion, grain, metallic effect, shadow, halo, glow, or gradient. This is a clean flat two-color adaptation of the approved actual logo, with every contour and line of text preserved.

EXACT APPROVED COPY TO PRESERVE

Render precisely these 2 approved line(s), unchanged from the first reference:
SAM – Settimana Mondiale
per l'Allattamento Materno

COPY RISKS
Keep uppercase SAM, the en dash – surrounded by spaces, Settimana with tt, l'Allattamento with apostrophe and double ll and tt, lowercase per and l, uppercase A and M. Do not omit acronym.

# Active generation contract — v4.0.0

This is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.

Read the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.

## D — active design rules

### D-01

FORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.

### D-02

COLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.

### D-03

ONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.

### D-04

MEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.

### D-05

PURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.

### D-06

CONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.

### D-07

READABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.

### D-08

INTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.

### D-09

CONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.

### D-10

NUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.

### D-11

OPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.

### D-12

RESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.

### D-13

COHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.

### D-14

RADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.

### D-15

PURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.

### D-16

AUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.

### D-17

LETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.

## W — active working principles

### W-01

Each candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.

### W-02

Solve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.

### W-03

Let the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.

### W-04

Seek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.

### W-05

Seek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.

### W-06

Make thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.

### W-07

Design for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.

### W-08

Choose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.

### W-09

Require particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.

### W-10

Give each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.

### W-11

Solve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.

### W-12

Reduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.

### W-13

Establish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.

### W-14

Make the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.

### W-15

Use reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.

### W-16

Seek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.

### W-17

Describe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.

### W-18

Consider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.

### W-19

Preserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.

### W-20

Put communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.

## C — active control questions

### C-01

Which observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.

### C-02

Can this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?

### C-03

What actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?

### C-04

Did simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?

### C-05

Does one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?

### C-06

What dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?

## I — full curriculum of methods and examples

### I-01 — Peter Behrens

Curriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.

### I-02 — A.M. Cassandre

Curriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.

### I-03 — Paul Rand

Curriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.

### I-04 — Saul Bass

Curriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.

### I-05 — Raymond Loewy

Curriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.

### I-06 — Milton Glaser

Curriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.

### I-07 — Ivan Chermayeff

Curriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.

### I-08 — Tom Geismar

Curriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.

### I-09 — Otl Aicher

Curriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.

### I-10 — Yusaku Kamekura

Curriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.

### I-11 — Alan Fletcher

Curriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.

### I-12 — Herb Lubalin

Curriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.

### I-13 — Walter Landor

Curriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.

### I-14 — Carolyn Davidson

Curriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.

### I-15 — Rob Janoff

Curriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.

### I-16 — Lindon Leader

Curriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.

### I-17 — Paula Scher

Curriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.

### I-18 — Henry Steiner

The source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.

### I-19 — Michael Bierut

Curriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.



HISTORICAL REFERENCE MECHANISMS

ATTACHED REFERENCE 2: GI19 / dog & fish
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Direct visual verification
A dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.

Transferable inspiration
**When this is useful:** Two subjects share a contour or figure/ground boundary.

**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.

**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?

ATTACHED REFERENCE 3: ST44 / COUNTERS
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical description
The boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.

Usable formal mechanisms
Make the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.

Fit conditions
Useful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.

Conflicts, risks, and scale or monochrome adaptations
A forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.

What not to copy
Do not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.

ATTACHED REFERENCE 4: ST74 / BRACKETING
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical design description
Let two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.

Usable mechanisms
Two complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.

Fit conditions
Useful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.

Conflicts, scale, monochrome, and adaptations
Generic ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.

What not to copy
Do not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.

Transparent clear space must be continuous all the way to the outer canvas edges. No faint pale rectangle, edge stroke, vignette, or residual source background should survive around the artwork.

release-it-full-3d.txt

creative/prompts/logos/release-it-full-3d.txt

TXT · 32,025 B

Pokaż treść
OUTPUT STAGE: STANDALONE LOGO
APPROVED WORDMARK: SAM – Settimana Mondiale per l'Allattamento Materno

CRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK

The earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.

RELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY

The owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.

REFERENCE MAP
first image: [APPROVED-IT] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.
second image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.
third image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.
fourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.
END REFERENCE MAP

ACTUAL IDENTITY LOCK

The first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.

EXACT LETTERING IS PART OF THE APPROVED IDENTITY

Use only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.

TRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT

The output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.

Preserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.

SINGLE-ASSET COMPOSITION AND DELIVERY

Return one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.

FINAL INTERNAL COMPARISON

Before returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.

Then inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.

MODE: FULL 3D TRANSPARENT SCULPTURAL LOGO

Transform the positive shapes of the approved logo into a substantial satin violet porcelain-like sculptural object while preserving its precise frontal identity and spelling. Use an orthographic frontal camera so the name remains easy to read and the approved proportions stay recognizable. Extrude the symbol and letters to a clear depth approximately eight percent of the symbol's height, with softly rounded bevels, visible side faces, and controlled occlusion. The result must visibly have depth, not merely a flat purple graphic with a drop shadow.

The symbol's front material is based on #8A5AA5 violet, with realistic lighter highlights and darker purple side shading from a soft upper-left studio light. The wordmark becomes coherent raised sculptural deep-plum lettering based on #4F2873, with the same lettering shapes and exact approved lines. Give the typography its own readable dimensional bevels without making counters close or letters join. Both existing small eye crescents remain deep-plum opaque inlay-like sculptural details in their original locations.

All faces, neck openings, infant openings, letter counters, spaces, and surrounding canvas remain full alpha cutouts through the object. Never fill these spaces with a porcelain plate, skin-colored face, transparent glass, background disc, plaque, connected backing sheet, or floor. Isolated eye marks and isolated letters are permitted floating parts in this logo asset. Use light on the object itself, without a cast shadow on an invented receiving surface. No plinth, stage, jewelry item, extra object, room, border, or photographic scenery.

Maintain the original front-facing symbol silhouette and text arrangement. Extrusion and bevels may introduce physically meaningful side contours, but must not redraw profiles, add eyelashes, erase an accent, obscure an apostrophe, or change the approved words. The material is satin rather than mirror chrome; highlights should clarify the rounding and depth without washing out the lettering. This PNG is a full 3D-style rendered logo asset, not a deliverable mesh or an animated scene.

EXACT APPROVED COPY TO PRESERVE

Render precisely these 2 approved line(s), unchanged from the first reference:
SAM – Settimana Mondiale
per l'Allattamento Materno

COPY RISKS
Keep uppercase SAM, the en dash – surrounded by spaces, Settimana with tt, l'Allattamento with apostrophe and double ll and tt, lowercase per and l, uppercase A and M. Do not omit acronym.

# Active generation contract — v4.0.0

This is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.

Read the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.

## D — active design rules

### D-01

FORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.

### D-02

COLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.

### D-03

ONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.

### D-04

MEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.

### D-05

PURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.

### D-06

CONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.

### D-07

READABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.

### D-08

INTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.

### D-09

CONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.

### D-10

NUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.

### D-11

OPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.

### D-12

RESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.

### D-13

COHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.

### D-14

RADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.

### D-15

PURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.

### D-16

AUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.

### D-17

LETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.

## W — active working principles

### W-01

Each candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.

### W-02

Solve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.

### W-03

Let the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.

### W-04

Seek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.

### W-05

Seek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.

### W-06

Make thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.

### W-07

Design for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.

### W-08

Choose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.

### W-09

Require particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.

### W-10

Give each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.

### W-11

Solve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.

### W-12

Reduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.

### W-13

Establish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.

### W-14

Make the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.

### W-15

Use reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.

### W-16

Seek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.

### W-17

Describe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.

### W-18

Consider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.

### W-19

Preserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.

### W-20

Put communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.

## C — active control questions

### C-01

Which observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.

### C-02

Can this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?

### C-03

What actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?

### C-04

Did simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?

### C-05

Does one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?

### C-06

What dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?

## I — full curriculum of methods and examples

### I-01 — Peter Behrens

Curriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.

### I-02 — A.M. Cassandre

Curriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.

### I-03 — Paul Rand

Curriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.

### I-04 — Saul Bass

Curriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.

### I-05 — Raymond Loewy

Curriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.

### I-06 — Milton Glaser

Curriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.

### I-07 — Ivan Chermayeff

Curriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.

### I-08 — Tom Geismar

Curriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.

### I-09 — Otl Aicher

Curriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.

### I-10 — Yusaku Kamekura

Curriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.

### I-11 — Alan Fletcher

Curriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.

### I-12 — Herb Lubalin

Curriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.

### I-13 — Walter Landor

Curriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.

### I-14 — Carolyn Davidson

Curriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.

### I-15 — Rob Janoff

Curriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.

### I-16 — Lindon Leader

Curriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.

### I-17 — Paula Scher

Curriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.

### I-18 — Henry Steiner

The source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.

### I-19 — Michael Bierut

Curriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.



HISTORICAL REFERENCE MECHANISMS

ATTACHED REFERENCE 2: GI19 / dog & fish
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Direct visual verification
A dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.

Transferable inspiration
**When this is useful:** Two subjects share a contour or figure/ground boundary.

**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.

**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?

ATTACHED REFERENCE 3: ST44 / COUNTERS
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical description
The boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.

Usable formal mechanisms
Make the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.

Fit conditions
Useful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.

Conflicts, risks, and scale or monochrome adaptations
A forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.

What not to copy
Do not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.

ATTACHED REFERENCE 4: ST74 / BRACKETING
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical design description
Let two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.

Usable mechanisms
Two complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.

Fit conditions
Useful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.

Conflicts, scale, monochrome, and adaptations
Generic ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.

What not to copy
Do not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.

Preserve the baseline of every approved text line. A physical-looking letter may have a beveled face, but its front silhouette still follows the selected humanist sans design. No letter tilts independently or moves out of alignment.

Transparent clear space must be continuous all the way to the outer canvas edges. No faint pale rectangle, edge stroke, vignette, or residual source background should survive around the artwork.

release-it-light.txt

creative/prompts/logos/release-it-light.txt

TXT · 32,025 B

Pokaż treść
OUTPUT STAGE: STANDALONE LOGO
APPROVED WORDMARK: SAM – Settimana Mondiale per l'Allattamento Materno

CRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK

The earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.

RELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY

The owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.

REFERENCE MAP
first image: [APPROVED-IT] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.
second image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.
third image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.
fourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.
END REFERENCE MAP

ACTUAL IDENTITY LOCK

The first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.

Keep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.

EXACT LETTERING IS PART OF THE APPROVED IDENTITY

Use only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.

Only the approved name is visible. Do not print the market key, country, language, mode name, hex value, file name, numbering, annotation, subtitle, slogan, year, offer, percentage, website, registration mark, signature, brandkit title, corporate endorsement, or a reference brand. This call returns a production asset, so its workflow labels remain invisible. A checkerboard, color chip, mode badge, or white rectangle with the logo on it is not part of the logo.

TRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT

The output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.

Preserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.

Think of the PNG as artwork that can be placed over any destination canvas. When the receiving page is dark, the transparent faces and counters reveal that dark page; when it is light, they reveal the light page. Do not bake either destination into this asset. The mode-specific colors below govern only the opaque artwork. A suggestion of a web canvas color is contextual information for contrast, never permission to render a background.

SINGLE-ASSET COMPOSITION AND DELIVERY

Return one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.

FINAL INTERNAL COMPARISON

Before returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.

Then inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.

MODE: LIGHT TRANSPARENT FLAT LOGO

Retain the approved flat design. Fill the complete positive mother-and-infant symbol with sRGB #8A5AA5. Fill the entire approved text and both closed-eye crescents with sRGB #4F2873. Keep these colors uniform and opaque. Remove the source background and every pale internal negative shape to full transparency. The light mode means these dark-enough artwork colors are intended for light destination surfaces; it does not mean adding a white or lilac background inside the PNG.

No depth, bevel, extrusion, material reflection, shadow, glow, metallic finish, embossing, gradient, grain, paper texture, or lighting effect. Preserve the source's exact contours and typography. Normal antialiasing may occur at boundaries only. This is the flat light-mode master for web and layout placement, with the source palette retained in the positive artwork and genuine alpha in all empty regions.

EXACT APPROVED COPY TO PRESERVE

Render precisely these 2 approved line(s), unchanged from the first reference:
SAM – Settimana Mondiale
per l'Allattamento Materno

COPY RISKS
Keep uppercase SAM, the en dash – surrounded by spaces, Settimana with tt, l'Allattamento with apostrophe and double ll and tt, lowercase per and l, uppercase A and M. Do not omit acronym.

# Active generation contract — v4.0.0

This is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.

Read the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.

## D — active design rules

### D-01

FORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.

### D-02

COLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.

### D-03

ONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.

### D-04

MEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.

### D-05

PURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.

### D-06

CONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.

### D-07

READABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.

### D-08

INTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.

### D-09

CONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.

### D-10

NUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.

### D-11

OPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.

### D-12

RESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.

### D-13

COHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.

### D-14

RADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.

### D-15

PURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.

### D-16

AUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.

### D-17

LETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.

## W — active working principles

### W-01

Each candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.

### W-02

Solve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.

### W-03

Let the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.

### W-04

Seek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.

### W-05

Seek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.

### W-06

Make thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.

### W-07

Design for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.

### W-08

Choose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.

### W-09

Require particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.

### W-10

Give each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.

### W-11

Solve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.

### W-12

Reduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.

### W-13

Establish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.

### W-14

Make the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.

### W-15

Use reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.

### W-16

Seek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.

### W-17

Describe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.

### W-18

Consider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.

### W-19

Preserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.

### W-20

Put communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.

## C — active control questions

### C-01

Which observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.

### C-02

Can this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?

### C-03

What actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?

### C-04

Did simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?

### C-05

Does one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?

### C-06

What dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?

## I — full curriculum of methods and examples

### I-01 — Peter Behrens

Curriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.

### I-02 — A.M. Cassandre

Curriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.

### I-03 — Paul Rand

Curriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.

### I-04 — Saul Bass

Curriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.

### I-05 — Raymond Loewy

Curriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.

### I-06 — Milton Glaser

Curriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.

### I-07 — Ivan Chermayeff

Curriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.

### I-08 — Tom Geismar

Curriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.

### I-09 — Otl Aicher

Curriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.

### I-10 — Yusaku Kamekura

Curriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.

### I-11 — Alan Fletcher

Curriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.

### I-12 — Herb Lubalin

Curriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.

### I-13 — Walter Landor

Curriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.

### I-14 — Carolyn Davidson

Curriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.

### I-15 — Rob Janoff

Curriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.

### I-16 — Lindon Leader

Curriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.

### I-17 — Paula Scher

Curriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.

### I-18 — Henry Steiner

The source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.

### I-19 — Michael Bierut

Curriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.



HISTORICAL REFERENCE MECHANISMS

ATTACHED REFERENCE 2: GI19 / dog & fish
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Direct visual verification
A dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.

Transferable inspiration
**When this is useful:** Two subjects share a contour or figure/ground boundary.

**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.

**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?

ATTACHED REFERENCE 3: ST44 / COUNTERS
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical description
The boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.

Usable formal mechanisms
Make the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.

Fit conditions
Useful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.

Conflicts, risks, and scale or monochrome adaptations
A forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.

What not to copy
Do not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.

ATTACHED REFERENCE 4: ST74 / BRACKETING
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical design description
Let two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.

Usable mechanisms
Two complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.

Fit conditions
Useful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.

Conflicts, scale, monochrome, and adaptations
Generic ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.

What not to copy
Do not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.

Preserve the baseline of every approved text line. A physical-looking letter may have a beveled face, but its front silhouette still follows the selected humanist sans design. No letter tilts independently or moves out of alignment.

release-nl-dark.txt

creative/prompts/logos/release-nl-dark.txt

TXT · 31,933 B

Pokaż treść
OUTPUT STAGE: STANDALONE LOGO
APPROVED WORDMARK: Landelijke Borstvoedingsweek

CRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK

The earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.

RELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY

The owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.

REFERENCE MAP
first image: [APPROVED-NL] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.
second image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.
third image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.
fourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.
END REFERENCE MAP

ACTUAL IDENTITY LOCK

The first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.

Keep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.

EXACT LETTERING IS PART OF THE APPROVED IDENTITY

Use only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.

Only the approved name is visible. Do not print the market key, country, language, mode name, hex value, file name, numbering, annotation, subtitle, slogan, year, offer, percentage, website, registration mark, signature, brandkit title, corporate endorsement, or a reference brand. This call returns a production asset, so its workflow labels remain invisible. A checkerboard, color chip, mode badge, or white rectangle with the logo on it is not part of the logo.

TRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT

The output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.

Preserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.

Think of the PNG as artwork that can be placed over any destination canvas. When the receiving page is dark, the transparent faces and counters reveal that dark page; when it is light, they reveal the light page. Do not bake either destination into this asset. The mode-specific colors below govern only the opaque artwork. A suggestion of a web canvas color is contextual information for contrast, never permission to render a background.

SINGLE-ASSET COMPOSITION AND DELIVERY

Return one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.

FINAL INTERNAL COMPARISON

Before returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.

Then inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.

MODE: DARK TRANSPARENT FLAT LOGO

Preserve the approved flat geometry and replace only its opaque artwork colors. The complete positive mother-and-infant symbol is sRGB #C9A7E1. The entire approved text and both closed-eye crescents are sRGB #F5EEFA. These lighter opaque colors are intended to contrast with a dark website canvas such as #251330. Do not draw that dark canvas, or any other canvas color, inside the PNG. Every original background and negative-space region becomes fully transparent.

Do not invert the topology or fill the faces pale simply because this is dark mode. Both faces reveal the receiving page through alpha; only their two existing eye crescents remain opaque pale lilac. Letter counters reveal the receiving page as well. No depth, bevel, extrusion, grain, metallic effect, shadow, halo, glow, or gradient. This is a clean flat two-color adaptation of the approved actual logo, with every contour and line of text preserved.

EXACT APPROVED COPY TO PRESERVE

Render precisely these 2 approved line(s), unchanged from the first reference:
Landelijke
Borstvoedingsweek

COPY RISKS
Keep the exact closed compound Borstvoedingsweek and the spelling Landelijke. Do not use the Belgian Wereld prefix.

# Active generation contract — v4.0.0

This is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.

Read the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.

## D — active design rules

### D-01

FORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.

### D-02

COLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.

### D-03

ONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.

### D-04

MEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.

### D-05

PURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.

### D-06

CONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.

### D-07

READABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.

### D-08

INTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.

### D-09

CONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.

### D-10

NUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.

### D-11

OPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.

### D-12

RESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.

### D-13

COHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.

### D-14

RADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.

### D-15

PURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.

### D-16

AUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.

### D-17

LETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.

## W — active working principles

### W-01

Each candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.

### W-02

Solve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.

### W-03

Let the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.

### W-04

Seek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.

### W-05

Seek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.

### W-06

Make thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.

### W-07

Design for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.

### W-08

Choose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.

### W-09

Require particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.

### W-10

Give each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.

### W-11

Solve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.

### W-12

Reduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.

### W-13

Establish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.

### W-14

Make the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.

### W-15

Use reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.

### W-16

Seek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.

### W-17

Describe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.

### W-18

Consider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.

### W-19

Preserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.

### W-20

Put communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.

## C — active control questions

### C-01

Which observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.

### C-02

Can this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?

### C-03

What actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?

### C-04

Did simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?

### C-05

Does one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?

### C-06

What dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?

## I — full curriculum of methods and examples

### I-01 — Peter Behrens

Curriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.

### I-02 — A.M. Cassandre

Curriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.

### I-03 — Paul Rand

Curriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.

### I-04 — Saul Bass

Curriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.

### I-05 — Raymond Loewy

Curriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.

### I-06 — Milton Glaser

Curriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.

### I-07 — Ivan Chermayeff

Curriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.

### I-08 — Tom Geismar

Curriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.

### I-09 — Otl Aicher

Curriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.

### I-10 — Yusaku Kamekura

Curriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.

### I-11 — Alan Fletcher

Curriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.

### I-12 — Herb Lubalin

Curriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.

### I-13 — Walter Landor

Curriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.

### I-14 — Carolyn Davidson

Curriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.

### I-15 — Rob Janoff

Curriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.

### I-16 — Lindon Leader

Curriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.

### I-17 — Paula Scher

Curriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.

### I-18 — Henry Steiner

The source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.

### I-19 — Michael Bierut

Curriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.



HISTORICAL REFERENCE MECHANISMS

ATTACHED REFERENCE 2: GI19 / dog & fish
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Direct visual verification
A dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.

Transferable inspiration
**When this is useful:** Two subjects share a contour or figure/ground boundary.

**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.

**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?

ATTACHED REFERENCE 3: ST44 / COUNTERS
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical description
The boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.

Usable formal mechanisms
Make the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.

Fit conditions
Useful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.

Conflicts, risks, and scale or monochrome adaptations
A forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.

What not to copy
Do not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.

ATTACHED REFERENCE 4: ST74 / BRACKETING
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical design description
Let two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.

Usable mechanisms
Two complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.

Fit conditions
Useful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.

Conflicts, scale, monochrome, and adaptations
Generic ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.

What not to copy
Do not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.

Preserve the baseline of every approved text line. A physical-looking letter may have a beveled face, but its front silhouette still follows the selected humanist sans design. No letter tilts independently or moves out of alignment.

release-nl-full-3d.txt

creative/prompts/logos/release-nl-full-3d.txt

TXT · 31,993 B

Pokaż treść
OUTPUT STAGE: STANDALONE LOGO
APPROVED WORDMARK: Landelijke Borstvoedingsweek

CRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK

The earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.

RELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY

The owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.

REFERENCE MAP
first image: [APPROVED-NL] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.
second image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.
third image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.
fourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.
END REFERENCE MAP

ACTUAL IDENTITY LOCK

The first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.

Keep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.

EXACT LETTERING IS PART OF THE APPROVED IDENTITY

Use only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.

TRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT

The output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.

Preserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.

SINGLE-ASSET COMPOSITION AND DELIVERY

Return one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.

FINAL INTERNAL COMPARISON

Before returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.

Then inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.

MODE: FULL 3D TRANSPARENT SCULPTURAL LOGO

Transform the positive shapes of the approved logo into a substantial satin violet porcelain-like sculptural object while preserving its precise frontal identity and spelling. Use an orthographic frontal camera so the name remains easy to read and the approved proportions stay recognizable. Extrude the symbol and letters to a clear depth approximately eight percent of the symbol's height, with softly rounded bevels, visible side faces, and controlled occlusion. The result must visibly have depth, not merely a flat purple graphic with a drop shadow.

The symbol's front material is based on #8A5AA5 violet, with realistic lighter highlights and darker purple side shading from a soft upper-left studio light. The wordmark becomes coherent raised sculptural deep-plum lettering based on #4F2873, with the same lettering shapes and exact approved lines. Give the typography its own readable dimensional bevels without making counters close or letters join. Both existing small eye crescents remain deep-plum opaque inlay-like sculptural details in their original locations.

All faces, neck openings, infant openings, letter counters, spaces, and surrounding canvas remain full alpha cutouts through the object. Never fill these spaces with a porcelain plate, skin-colored face, transparent glass, background disc, plaque, connected backing sheet, or floor. Isolated eye marks and isolated letters are permitted floating parts in this logo asset. Use light on the object itself, without a cast shadow on an invented receiving surface. No plinth, stage, jewelry item, extra object, room, border, or photographic scenery.

Maintain the original front-facing symbol silhouette and text arrangement. Extrusion and bevels may introduce physically meaningful side contours, but must not redraw profiles, add eyelashes, erase an accent, obscure an apostrophe, or change the approved words. The material is satin rather than mirror chrome; highlights should clarify the rounding and depth without washing out the lettering. This PNG is a full 3D-style rendered logo asset, not a deliverable mesh or an animated scene.

EXACT APPROVED COPY TO PRESERVE

Render precisely these 2 approved line(s), unchanged from the first reference:
Landelijke
Borstvoedingsweek

COPY RISKS
Keep the exact closed compound Borstvoedingsweek and the spelling Landelijke. Do not use the Belgian Wereld prefix.

# Active generation contract — v4.0.0

This is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.

Read the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.

## D — active design rules

### D-01

FORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.

### D-02

COLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.

### D-03

ONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.

### D-04

MEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.

### D-05

PURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.

### D-06

CONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.

### D-07

READABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.

### D-08

INTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.

### D-09

CONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.

### D-10

NUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.

### D-11

OPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.

### D-12

RESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.

### D-13

COHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.

### D-14

RADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.

### D-15

PURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.

### D-16

AUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.

### D-17

LETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.

## W — active working principles

### W-01

Each candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.

### W-02

Solve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.

### W-03

Let the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.

### W-04

Seek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.

### W-05

Seek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.

### W-06

Make thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.

### W-07

Design for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.

### W-08

Choose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.

### W-09

Require particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.

### W-10

Give each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.

### W-11

Solve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.

### W-12

Reduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.

### W-13

Establish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.

### W-14

Make the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.

### W-15

Use reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.

### W-16

Seek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.

### W-17

Describe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.

### W-18

Consider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.

### W-19

Preserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.

### W-20

Put communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.

## C — active control questions

### C-01

Which observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.

### C-02

Can this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?

### C-03

What actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?

### C-04

Did simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?

### C-05

Does one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?

### C-06

What dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?

## I — full curriculum of methods and examples

### I-01 — Peter Behrens

Curriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.

### I-02 — A.M. Cassandre

Curriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.

### I-03 — Paul Rand

Curriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.

### I-04 — Saul Bass

Curriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.

### I-05 — Raymond Loewy

Curriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.

### I-06 — Milton Glaser

Curriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.

### I-07 — Ivan Chermayeff

Curriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.

### I-08 — Tom Geismar

Curriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.

### I-09 — Otl Aicher

Curriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.

### I-10 — Yusaku Kamekura

Curriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.

### I-11 — Alan Fletcher

Curriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.

### I-12 — Herb Lubalin

Curriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.

### I-13 — Walter Landor

Curriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.

### I-14 — Carolyn Davidson

Curriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.

### I-15 — Rob Janoff

Curriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.

### I-16 — Lindon Leader

Curriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.

### I-17 — Paula Scher

Curriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.

### I-18 — Henry Steiner

The source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.

### I-19 — Michael Bierut

Curriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.



HISTORICAL REFERENCE MECHANISMS

ATTACHED REFERENCE 2: GI19 / dog & fish
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Direct visual verification
A dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.

Transferable inspiration
**When this is useful:** Two subjects share a contour or figure/ground boundary.

**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.

**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?

ATTACHED REFERENCE 3: ST44 / COUNTERS
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical description
The boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.

Usable formal mechanisms
Make the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.

Fit conditions
Useful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.

Conflicts, risks, and scale or monochrome adaptations
A forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.

What not to copy
Do not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.

ATTACHED REFERENCE 4: ST74 / BRACKETING
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical design description
Let two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.

Usable mechanisms
Two complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.

Fit conditions
Useful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.

Conflicts, scale, monochrome, and adaptations
Generic ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.

What not to copy
Do not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.

release-nl-light.txt

creative/prompts/logos/release-nl-light.txt

TXT · 32,023 B

Pokaż treść
OUTPUT STAGE: STANDALONE LOGO
APPROVED WORDMARK: Landelijke Borstvoedingsweek

CRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK

The earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.

RELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY

The owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.

REFERENCE MAP
first image: [APPROVED-NL] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.
second image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.
third image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.
fourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.
END REFERENCE MAP

ACTUAL IDENTITY LOCK

The first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.

Keep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.

EXACT LETTERING IS PART OF THE APPROVED IDENTITY

Use only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.

Only the approved name is visible. Do not print the market key, country, language, mode name, hex value, file name, numbering, annotation, subtitle, slogan, year, offer, percentage, website, registration mark, signature, brandkit title, corporate endorsement, or a reference brand. This call returns a production asset, so its workflow labels remain invisible. A checkerboard, color chip, mode badge, or white rectangle with the logo on it is not part of the logo.

TRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT

The output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.

Preserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.

Think of the PNG as artwork that can be placed over any destination canvas. When the receiving page is dark, the transparent faces and counters reveal that dark page; when it is light, they reveal the light page. Do not bake either destination into this asset. The mode-specific colors below govern only the opaque artwork. A suggestion of a web canvas color is contextual information for contrast, never permission to render a background.

SINGLE-ASSET COMPOSITION AND DELIVERY

Return one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.

FINAL INTERNAL COMPARISON

Before returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.

Then inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.

MODE: LIGHT TRANSPARENT FLAT LOGO

Retain the approved flat design. Fill the complete positive mother-and-infant symbol with sRGB #8A5AA5. Fill the entire approved text and both closed-eye crescents with sRGB #4F2873. Keep these colors uniform and opaque. Remove the source background and every pale internal negative shape to full transparency. The light mode means these dark-enough artwork colors are intended for light destination surfaces; it does not mean adding a white or lilac background inside the PNG.

No depth, bevel, extrusion, material reflection, shadow, glow, metallic finish, embossing, gradient, grain, paper texture, or lighting effect. Preserve the source's exact contours and typography. Normal antialiasing may occur at boundaries only. This is the flat light-mode master for web and layout placement, with the source palette retained in the positive artwork and genuine alpha in all empty regions.

EXACT APPROVED COPY TO PRESERVE

Render precisely these 2 approved line(s), unchanged from the first reference:
Landelijke
Borstvoedingsweek

COPY RISKS
Keep the exact closed compound Borstvoedingsweek and the spelling Landelijke. Do not use the Belgian Wereld prefix.

# Active generation contract — v4.0.0

This is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.

Read the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.

## D — active design rules

### D-01

FORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.

### D-02

COLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.

### D-03

ONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.

### D-04

MEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.

### D-05

PURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.

### D-06

CONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.

### D-07

READABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.

### D-08

INTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.

### D-09

CONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.

### D-10

NUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.

### D-11

OPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.

### D-12

RESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.

### D-13

COHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.

### D-14

RADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.

### D-15

PURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.

### D-16

AUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.

### D-17

LETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.

## W — active working principles

### W-01

Each candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.

### W-02

Solve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.

### W-03

Let the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.

### W-04

Seek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.

### W-05

Seek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.

### W-06

Make thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.

### W-07

Design for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.

### W-08

Choose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.

### W-09

Require particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.

### W-10

Give each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.

### W-11

Solve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.

### W-12

Reduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.

### W-13

Establish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.

### W-14

Make the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.

### W-15

Use reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.

### W-16

Seek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.

### W-17

Describe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.

### W-18

Consider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.

### W-19

Preserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.

### W-20

Put communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.

## C — active control questions

### C-01

Which observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.

### C-02

Can this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?

### C-03

What actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?

### C-04

Did simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?

### C-05

Does one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?

### C-06

What dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?

## I — full curriculum of methods and examples

### I-01 — Peter Behrens

Curriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.

### I-02 — A.M. Cassandre

Curriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.

### I-03 — Paul Rand

Curriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.

### I-04 — Saul Bass

Curriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.

### I-05 — Raymond Loewy

Curriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.

### I-06 — Milton Glaser

Curriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.

### I-07 — Ivan Chermayeff

Curriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.

### I-08 — Tom Geismar

Curriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.

### I-09 — Otl Aicher

Curriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.

### I-10 — Yusaku Kamekura

Curriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.

### I-11 — Alan Fletcher

Curriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.

### I-12 — Herb Lubalin

Curriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.

### I-13 — Walter Landor

Curriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.

### I-14 — Carolyn Davidson

Curriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.

### I-15 — Rob Janoff

Curriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.

### I-16 — Lindon Leader

Curriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.

### I-17 — Paula Scher

Curriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.

### I-18 — Henry Steiner

The source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.

### I-19 — Michael Bierut

Curriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.



HISTORICAL REFERENCE MECHANISMS

ATTACHED REFERENCE 2: GI19 / dog & fish
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Direct visual verification
A dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.

Transferable inspiration
**When this is useful:** Two subjects share a contour or figure/ground boundary.

**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.

**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?

ATTACHED REFERENCE 3: ST44 / COUNTERS
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical description
The boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.

Usable formal mechanisms
Make the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.

Fit conditions
Useful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.

Conflicts, risks, and scale or monochrome adaptations
A forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.

What not to copy
Do not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.

ATTACHED REFERENCE 4: ST74 / BRACKETING
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical design description
Let two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.

Usable mechanisms
Two complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.

Fit conditions
Useful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.

Conflicts, scale, monochrome, and adaptations
Generic ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.

What not to copy
Do not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.

Do not add a colored keyline around the entire asset to increase contrast. Contrast comes from the assigned mode colors and the receiving page, while the cutout contours remain clean.

An empty transparent pixel is not a pale paint sample. Removing the source background includes the enclosed faces and letter holes, not only the outer rectangular canvas.

release-pl-dark.txt

creative/prompts/logos/release-pl-dark.txt

TXT · 32,022 B

Pokaż treść
OUTPUT STAGE: STANDALONE LOGO
APPROVED WORDMARK: Międzynarodowy Tydzień Noszenia & Tydzień Bliskości

CRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK

The earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.

RELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY

The owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.

REFERENCE MAP
first image: [APPROVED-PL] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.
second image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.
third image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.
fourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.
END REFERENCE MAP

ACTUAL IDENTITY LOCK

The first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.

Keep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.

EXACT LETTERING IS PART OF THE APPROVED IDENTITY

Use only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.

Only the approved name is visible. Do not print the market key, country, language, mode name, hex value, file name, numbering, annotation, subtitle, slogan, year, offer, percentage, website, registration mark, signature, brandkit title, corporate endorsement, or a reference brand. This call returns a production asset, so its workflow labels remain invisible. A checkerboard, color chip, mode badge, or white rectangle with the logo on it is not part of the logo.

TRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT

The output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.

Preserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.

Think of the PNG as artwork that can be placed over any destination canvas. When the receiving page is dark, the transparent faces and counters reveal that dark page; when it is light, they reveal the light page. Do not bake either destination into this asset. The mode-specific colors below govern only the opaque artwork. A suggestion of a web canvas color is contextual information for contrast, never permission to render a background.

SINGLE-ASSET COMPOSITION AND DELIVERY

Return one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.

FINAL INTERNAL COMPARISON

Before returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.

Then inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.

MODE: DARK TRANSPARENT FLAT LOGO

Preserve the approved flat geometry and replace only its opaque artwork colors. The complete positive mother-and-infant symbol is sRGB #C9A7E1. The entire approved text and both closed-eye crescents are sRGB #F5EEFA. These lighter opaque colors are intended to contrast with a dark website canvas such as #251330. Do not draw that dark canvas, or any other canvas color, inside the PNG. Every original background and negative-space region becomes fully transparent.

Do not invert the topology or fill the faces pale simply because this is dark mode. Both faces reveal the receiving page through alpha; only their two existing eye crescents remain opaque pale lilac. Letter counters reveal the receiving page as well. No depth, bevel, extrusion, grain, metallic effect, shadow, halo, glow, or gradient. This is a clean flat two-color adaptation of the approved actual logo, with every contour and line of text preserved.

EXACT APPROVED COPY TO PRESERVE

Render precisely these 3 approved line(s), unchanged from the first reference:
Międzynarodowy
Tydzień Noszenia
& Tydzień Bliskości

COPY RISKS
Polish diacritics ę in Międzynarodowy, ń in both Tydzień occurrences, ś in Bliskości. Preserve ampersand and two repetitions of Tydzień. Do not substitute breastfeeding terminology.

# Active generation contract — v4.0.0

This is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.

Read the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.

## D — active design rules

### D-01

FORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.

### D-02

COLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.

### D-03

ONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.

### D-04

MEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.

### D-05

PURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.

### D-06

CONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.

### D-07

READABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.

### D-08

INTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.

### D-09

CONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.

### D-10

NUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.

### D-11

OPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.

### D-12

RESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.

### D-13

COHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.

### D-14

RADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.

### D-15

PURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.

### D-16

AUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.

### D-17

LETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.

## W — active working principles

### W-01

Each candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.

### W-02

Solve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.

### W-03

Let the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.

### W-04

Seek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.

### W-05

Seek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.

### W-06

Make thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.

### W-07

Design for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.

### W-08

Choose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.

### W-09

Require particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.

### W-10

Give each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.

### W-11

Solve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.

### W-12

Reduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.

### W-13

Establish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.

### W-14

Make the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.

### W-15

Use reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.

### W-16

Seek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.

### W-17

Describe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.

### W-18

Consider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.

### W-19

Preserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.

### W-20

Put communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.

## C — active control questions

### C-01

Which observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.

### C-02

Can this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?

### C-03

What actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?

### C-04

Did simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?

### C-05

Does one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?

### C-06

What dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?

## I — full curriculum of methods and examples

### I-01 — Peter Behrens

Curriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.

### I-02 — A.M. Cassandre

Curriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.

### I-03 — Paul Rand

Curriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.

### I-04 — Saul Bass

Curriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.

### I-05 — Raymond Loewy

Curriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.

### I-06 — Milton Glaser

Curriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.

### I-07 — Ivan Chermayeff

Curriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.

### I-08 — Tom Geismar

Curriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.

### I-09 — Otl Aicher

Curriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.

### I-10 — Yusaku Kamekura

Curriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.

### I-11 — Alan Fletcher

Curriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.

### I-12 — Herb Lubalin

Curriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.

### I-13 — Walter Landor

Curriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.

### I-14 — Carolyn Davidson

Curriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.

### I-15 — Rob Janoff

Curriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.

### I-16 — Lindon Leader

Curriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.

### I-17 — Paula Scher

Curriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.

### I-18 — Henry Steiner

The source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.

### I-19 — Michael Bierut

Curriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.



HISTORICAL REFERENCE MECHANISMS

ATTACHED REFERENCE 2: GI19 / dog & fish
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Direct visual verification
A dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.

Transferable inspiration
**When this is useful:** Two subjects share a contour or figure/ground boundary.

**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.

**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?

ATTACHED REFERENCE 3: ST44 / COUNTERS
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical description
The boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.

Usable formal mechanisms
Make the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.

Fit conditions
Useful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.

Conflicts, risks, and scale or monochrome adaptations
A forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.

What not to copy
Do not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.

ATTACHED REFERENCE 4: ST74 / BRACKETING
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical design description
Let two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.

Usable mechanisms
Two complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.

Fit conditions
Useful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.

Conflicts, scale, monochrome, and adaptations
Generic ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.

What not to copy
Do not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.

Transparent clear space must be continuous all the way to the outer canvas edges. No faint pale rectangle, edge stroke, vignette, or residual source background should survive around the artwork.

release-pl-full-3d.txt

creative/prompts/logos/release-pl-full-3d.txt

TXT · 32,027 B

Pokaż treść
OUTPUT STAGE: STANDALONE LOGO
APPROVED WORDMARK: Międzynarodowy Tydzień Noszenia & Tydzień Bliskości

CRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK

The earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.

RELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY

The owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.

REFERENCE MAP
first image: [APPROVED-PL] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.
second image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.
third image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.
fourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.
END REFERENCE MAP

ACTUAL IDENTITY LOCK

The first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.

EXACT LETTERING IS PART OF THE APPROVED IDENTITY

Use only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.

TRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT

The output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.

Preserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.

SINGLE-ASSET COMPOSITION AND DELIVERY

Return one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.

FINAL INTERNAL COMPARISON

Before returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.

Then inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.

MODE: FULL 3D TRANSPARENT SCULPTURAL LOGO

Transform the positive shapes of the approved logo into a substantial satin violet porcelain-like sculptural object while preserving its precise frontal identity and spelling. Use an orthographic frontal camera so the name remains easy to read and the approved proportions stay recognizable. Extrude the symbol and letters to a clear depth approximately eight percent of the symbol's height, with softly rounded bevels, visible side faces, and controlled occlusion. The result must visibly have depth, not merely a flat purple graphic with a drop shadow.

The symbol's front material is based on #8A5AA5 violet, with realistic lighter highlights and darker purple side shading from a soft upper-left studio light. The wordmark becomes coherent raised sculptural deep-plum lettering based on #4F2873, with the same lettering shapes and exact approved lines. Give the typography its own readable dimensional bevels without making counters close or letters join. Both existing small eye crescents remain deep-plum opaque inlay-like sculptural details in their original locations.

All faces, neck openings, infant openings, letter counters, spaces, and surrounding canvas remain full alpha cutouts through the object. Never fill these spaces with a porcelain plate, skin-colored face, transparent glass, background disc, plaque, connected backing sheet, or floor. Isolated eye marks and isolated letters are permitted floating parts in this logo asset. Use light on the object itself, without a cast shadow on an invented receiving surface. No plinth, stage, jewelry item, extra object, room, border, or photographic scenery.

Maintain the original front-facing symbol silhouette and text arrangement. Extrusion and bevels may introduce physically meaningful side contours, but must not redraw profiles, add eyelashes, erase an accent, obscure an apostrophe, or change the approved words. The material is satin rather than mirror chrome; highlights should clarify the rounding and depth without washing out the lettering. This PNG is a full 3D-style rendered logo asset, not a deliverable mesh or an animated scene.

EXACT APPROVED COPY TO PRESERVE

Render precisely these 3 approved line(s), unchanged from the first reference:
Międzynarodowy
Tydzień Noszenia
& Tydzień Bliskości

COPY RISKS
Polish diacritics ę in Międzynarodowy, ń in both Tydzień occurrences, ś in Bliskości. Preserve ampersand and two repetitions of Tydzień. Do not substitute breastfeeding terminology.

# Active generation contract — v4.0.0

This is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.

Read the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.

## D — active design rules

### D-01

FORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.

### D-02

COLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.

### D-03

ONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.

### D-04

MEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.

### D-05

PURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.

### D-06

CONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.

### D-07

READABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.

### D-08

INTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.

### D-09

CONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.

### D-10

NUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.

### D-11

OPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.

### D-12

RESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.

### D-13

COHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.

### D-14

RADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.

### D-15

PURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.

### D-16

AUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.

### D-17

LETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.

## W — active working principles

### W-01

Each candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.

### W-02

Solve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.

### W-03

Let the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.

### W-04

Seek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.

### W-05

Seek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.

### W-06

Make thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.

### W-07

Design for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.

### W-08

Choose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.

### W-09

Require particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.

### W-10

Give each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.

### W-11

Solve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.

### W-12

Reduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.

### W-13

Establish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.

### W-14

Make the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.

### W-15

Use reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.

### W-16

Seek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.

### W-17

Describe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.

### W-18

Consider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.

### W-19

Preserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.

### W-20

Put communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.

## C — active control questions

### C-01

Which observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.

### C-02

Can this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?

### C-03

What actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?

### C-04

Did simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?

### C-05

Does one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?

### C-06

What dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?

## I — full curriculum of methods and examples

### I-01 — Peter Behrens

Curriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.

### I-02 — A.M. Cassandre

Curriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.

### I-03 — Paul Rand

Curriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.

### I-04 — Saul Bass

Curriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.

### I-05 — Raymond Loewy

Curriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.

### I-06 — Milton Glaser

Curriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.

### I-07 — Ivan Chermayeff

Curriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.

### I-08 — Tom Geismar

Curriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.

### I-09 — Otl Aicher

Curriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.

### I-10 — Yusaku Kamekura

Curriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.

### I-11 — Alan Fletcher

Curriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.

### I-12 — Herb Lubalin

Curriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.

### I-13 — Walter Landor

Curriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.

### I-14 — Carolyn Davidson

Curriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.

### I-15 — Rob Janoff

Curriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.

### I-16 — Lindon Leader

Curriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.

### I-17 — Paula Scher

Curriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.

### I-18 — Henry Steiner

The source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.

### I-19 — Michael Bierut

Curriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.



HISTORICAL REFERENCE MECHANISMS

ATTACHED REFERENCE 2: GI19 / dog & fish
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Direct visual verification
A dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.

Transferable inspiration
**When this is useful:** Two subjects share a contour or figure/ground boundary.

**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.

**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?

ATTACHED REFERENCE 3: ST44 / COUNTERS
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical description
The boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.

Usable formal mechanisms
Make the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.

Fit conditions
Useful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.

Conflicts, risks, and scale or monochrome adaptations
A forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.

What not to copy
Do not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.

ATTACHED REFERENCE 4: ST74 / BRACKETING
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical design description
Let two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.

Usable mechanisms
Two complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.

Fit conditions
Useful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.

Conflicts, scale, monochrome, and adaptations
Generic ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.

What not to copy
Do not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.

Preserve the baseline of every approved text line. A physical-looking letter may have a beveled face, but its front silhouette still follows the selected humanist sans design. No letter tilts independently or moves out of alignment.

Transparent clear space must be continuous all the way to the outer canvas edges. No faint pale rectangle, edge stroke, vignette, or residual source background should survive around the artwork.

release-pl-light.txt

creative/prompts/logos/release-pl-light.txt

TXT · 32,027 B

Pokaż treść
OUTPUT STAGE: STANDALONE LOGO
APPROVED WORDMARK: Międzynarodowy Tydzień Noszenia & Tydzień Bliskości

CRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK

The earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.

RELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY

The owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.

REFERENCE MAP
first image: [APPROVED-PL] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.
second image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.
third image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.
fourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.
END REFERENCE MAP

ACTUAL IDENTITY LOCK

The first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.

Keep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.

EXACT LETTERING IS PART OF THE APPROVED IDENTITY

Use only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.

Only the approved name is visible. Do not print the market key, country, language, mode name, hex value, file name, numbering, annotation, subtitle, slogan, year, offer, percentage, website, registration mark, signature, brandkit title, corporate endorsement, or a reference brand. This call returns a production asset, so its workflow labels remain invisible. A checkerboard, color chip, mode badge, or white rectangle with the logo on it is not part of the logo.

TRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT

The output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.

Preserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.

Think of the PNG as artwork that can be placed over any destination canvas. When the receiving page is dark, the transparent faces and counters reveal that dark page; when it is light, they reveal the light page. Do not bake either destination into this asset. The mode-specific colors below govern only the opaque artwork. A suggestion of a web canvas color is contextual information for contrast, never permission to render a background.

SINGLE-ASSET COMPOSITION AND DELIVERY

Return one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.

FINAL INTERNAL COMPARISON

Before returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.

Then inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.

MODE: LIGHT TRANSPARENT FLAT LOGO

Retain the approved flat design. Fill the complete positive mother-and-infant symbol with sRGB #8A5AA5. Fill the entire approved text and both closed-eye crescents with sRGB #4F2873. Keep these colors uniform and opaque. Remove the source background and every pale internal negative shape to full transparency. The light mode means these dark-enough artwork colors are intended for light destination surfaces; it does not mean adding a white or lilac background inside the PNG.

No depth, bevel, extrusion, material reflection, shadow, glow, metallic finish, embossing, gradient, grain, paper texture, or lighting effect. Preserve the source's exact contours and typography. Normal antialiasing may occur at boundaries only. This is the flat light-mode master for web and layout placement, with the source palette retained in the positive artwork and genuine alpha in all empty regions.

EXACT APPROVED COPY TO PRESERVE

Render precisely these 3 approved line(s), unchanged from the first reference:
Międzynarodowy
Tydzień Noszenia
& Tydzień Bliskości

COPY RISKS
Polish diacritics ę in Międzynarodowy, ń in both Tydzień occurrences, ś in Bliskości. Preserve ampersand and two repetitions of Tydzień. Do not substitute breastfeeding terminology.

# Active generation contract — v4.0.0

This is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.

Read the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.

## D — active design rules

### D-01

FORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.

### D-02

COLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.

### D-03

ONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.

### D-04

MEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.

### D-05

PURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.

### D-06

CONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.

### D-07

READABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.

### D-08

INTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.

### D-09

CONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.

### D-10

NUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.

### D-11

OPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.

### D-12

RESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.

### D-13

COHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.

### D-14

RADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.

### D-15

PURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.

### D-16

AUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.

### D-17

LETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.

## W — active working principles

### W-01

Each candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.

### W-02

Solve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.

### W-03

Let the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.

### W-04

Seek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.

### W-05

Seek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.

### W-06

Make thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.

### W-07

Design for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.

### W-08

Choose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.

### W-09

Require particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.

### W-10

Give each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.

### W-11

Solve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.

### W-12

Reduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.

### W-13

Establish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.

### W-14

Make the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.

### W-15

Use reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.

### W-16

Seek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.

### W-17

Describe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.

### W-18

Consider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.

### W-19

Preserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.

### W-20

Put communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.

## C — active control questions

### C-01

Which observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.

### C-02

Can this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?

### C-03

What actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?

### C-04

Did simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?

### C-05

Does one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?

### C-06

What dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?

## I — full curriculum of methods and examples

### I-01 — Peter Behrens

Curriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.

### I-02 — A.M. Cassandre

Curriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.

### I-03 — Paul Rand

Curriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.

### I-04 — Saul Bass

Curriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.

### I-05 — Raymond Loewy

Curriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.

### I-06 — Milton Glaser

Curriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.

### I-07 — Ivan Chermayeff

Curriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.

### I-08 — Tom Geismar

Curriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.

### I-09 — Otl Aicher

Curriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.

### I-10 — Yusaku Kamekura

Curriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.

### I-11 — Alan Fletcher

Curriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.

### I-12 — Herb Lubalin

Curriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.

### I-13 — Walter Landor

Curriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.

### I-14 — Carolyn Davidson

Curriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.

### I-15 — Rob Janoff

Curriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.

### I-16 — Lindon Leader

Curriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.

### I-17 — Paula Scher

Curriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.

### I-18 — Henry Steiner

The source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.

### I-19 — Michael Bierut

Curriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.



HISTORICAL REFERENCE MECHANISMS

ATTACHED REFERENCE 2: GI19 / dog & fish
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Direct visual verification
A dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.

Transferable inspiration
**When this is useful:** Two subjects share a contour or figure/ground boundary.

**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.

**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?

ATTACHED REFERENCE 3: ST44 / COUNTERS
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical description
The boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.

Usable formal mechanisms
Make the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.

Fit conditions
Useful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.

Conflicts, risks, and scale or monochrome adaptations
A forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.

What not to copy
Do not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.

ATTACHED REFERENCE 4: ST74 / BRACKETING
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical design description
Let two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.

Usable mechanisms
Two complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.

Fit conditions
Useful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.

Conflicts, scale, monochrome, and adaptations
Generic ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.

What not to copy
Do not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.

Preserve the baseline of every approved text line. A physical-looking letter may have a beveled face, but its front silhouette still follows the selected humanist sans design. No letter tilts independently or moves out of alignment.

release-pt-dark.txt

creative/prompts/logos/release-pt-dark.txt

TXT · 31,967 B

Pokaż treść
OUTPUT STAGE: STANDALONE LOGO
APPROVED WORDMARK: Semana Mundial do Aleitamento Materno

CRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK

The earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.

RELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY

The owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.

REFERENCE MAP
first image: [APPROVED-PT] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.
second image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.
third image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.
fourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.
END REFERENCE MAP

ACTUAL IDENTITY LOCK

The first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.

Keep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.

EXACT LETTERING IS PART OF THE APPROVED IDENTITY

Use only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.

Only the approved name is visible. Do not print the market key, country, language, mode name, hex value, file name, numbering, annotation, subtitle, slogan, year, offer, percentage, website, registration mark, signature, brandkit title, corporate endorsement, or a reference brand. This call returns a production asset, so its workflow labels remain invisible. A checkerboard, color chip, mode badge, or white rectangle with the logo on it is not part of the logo.

TRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT

The output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.

Preserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.

Think of the PNG as artwork that can be placed over any destination canvas. When the receiving page is dark, the transparent faces and counters reveal that dark page; when it is light, they reveal the light page. Do not bake either destination into this asset. The mode-specific colors below govern only the opaque artwork. A suggestion of a web canvas color is contextual information for contrast, never permission to render a background.

SINGLE-ASSET COMPOSITION AND DELIVERY

Return one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.

FINAL INTERNAL COMPARISON

Before returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.

Then inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.

MODE: DARK TRANSPARENT FLAT LOGO

Preserve the approved flat geometry and replace only its opaque artwork colors. The complete positive mother-and-infant symbol is sRGB #C9A7E1. The entire approved text and both closed-eye crescents are sRGB #F5EEFA. These lighter opaque colors are intended to contrast with a dark website canvas such as #251330. Do not draw that dark canvas, or any other canvas color, inside the PNG. Every original background and negative-space region becomes fully transparent.

Do not invert the topology or fill the faces pale simply because this is dark mode. Both faces reveal the receiving page through alpha; only their two existing eye crescents remain opaque pale lilac. Letter counters reveal the receiving page as well. No depth, bevel, extrusion, grain, metallic effect, shadow, halo, glow, or gradient. This is a clean flat two-color adaptation of the approved actual logo, with every contour and line of text preserved.

EXACT APPROVED COPY TO PRESERVE

Render precisely these 2 approved line(s), unchanged from the first reference:
Semana Mundial
do Aleitamento Materno

COPY RISKS
Aleitamento is the supplied Portuguese word. Preserve the lowercase do and masculine Materno; do not borrow Lactancia from Spanish.

# Active generation contract — v4.0.0

This is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.

Read the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.

## D — active design rules

### D-01

FORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.

### D-02

COLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.

### D-03

ONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.

### D-04

MEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.

### D-05

PURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.

### D-06

CONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.

### D-07

READABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.

### D-08

INTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.

### D-09

CONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.

### D-10

NUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.

### D-11

OPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.

### D-12

RESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.

### D-13

COHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.

### D-14

RADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.

### D-15

PURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.

### D-16

AUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.

### D-17

LETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.

## W — active working principles

### W-01

Each candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.

### W-02

Solve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.

### W-03

Let the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.

### W-04

Seek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.

### W-05

Seek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.

### W-06

Make thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.

### W-07

Design for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.

### W-08

Choose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.

### W-09

Require particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.

### W-10

Give each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.

### W-11

Solve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.

### W-12

Reduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.

### W-13

Establish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.

### W-14

Make the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.

### W-15

Use reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.

### W-16

Seek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.

### W-17

Describe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.

### W-18

Consider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.

### W-19

Preserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.

### W-20

Put communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.

## C — active control questions

### C-01

Which observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.

### C-02

Can this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?

### C-03

What actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?

### C-04

Did simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?

### C-05

Does one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?

### C-06

What dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?

## I — full curriculum of methods and examples

### I-01 — Peter Behrens

Curriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.

### I-02 — A.M. Cassandre

Curriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.

### I-03 — Paul Rand

Curriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.

### I-04 — Saul Bass

Curriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.

### I-05 — Raymond Loewy

Curriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.

### I-06 — Milton Glaser

Curriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.

### I-07 — Ivan Chermayeff

Curriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.

### I-08 — Tom Geismar

Curriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.

### I-09 — Otl Aicher

Curriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.

### I-10 — Yusaku Kamekura

Curriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.

### I-11 — Alan Fletcher

Curriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.

### I-12 — Herb Lubalin

Curriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.

### I-13 — Walter Landor

Curriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.

### I-14 — Carolyn Davidson

Curriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.

### I-15 — Rob Janoff

Curriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.

### I-16 — Lindon Leader

Curriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.

### I-17 — Paula Scher

Curriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.

### I-18 — Henry Steiner

The source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.

### I-19 — Michael Bierut

Curriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.



HISTORICAL REFERENCE MECHANISMS

ATTACHED REFERENCE 2: GI19 / dog & fish
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Direct visual verification
A dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.

Transferable inspiration
**When this is useful:** Two subjects share a contour or figure/ground boundary.

**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.

**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?

ATTACHED REFERENCE 3: ST44 / COUNTERS
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical description
The boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.

Usable formal mechanisms
Make the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.

Fit conditions
Useful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.

Conflicts, risks, and scale or monochrome adaptations
A forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.

What not to copy
Do not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.

ATTACHED REFERENCE 4: ST74 / BRACKETING
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical design description
Let two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.

Usable mechanisms
Two complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.

Fit conditions
Useful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.

Conflicts, scale, monochrome, and adaptations
Generic ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.

What not to copy
Do not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.

Preserve the baseline of every approved text line. A physical-looking letter may have a beveled face, but its front silhouette still follows the selected humanist sans design. No letter tilts independently or moves out of alignment.

release-pt-full-3d.txt

creative/prompts/logos/release-pt-full-3d.txt

TXT · 32,027 B

Pokaż treść
OUTPUT STAGE: STANDALONE LOGO
APPROVED WORDMARK: Semana Mundial do Aleitamento Materno

CRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK

The earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.

RELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY

The owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.

REFERENCE MAP
first image: [APPROVED-PT] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.
second image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.
third image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.
fourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.
END REFERENCE MAP

ACTUAL IDENTITY LOCK

The first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.

Keep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.

EXACT LETTERING IS PART OF THE APPROVED IDENTITY

Use only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.

TRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT

The output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.

Preserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.

SINGLE-ASSET COMPOSITION AND DELIVERY

Return one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.

FINAL INTERNAL COMPARISON

Before returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.

Then inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.

MODE: FULL 3D TRANSPARENT SCULPTURAL LOGO

Transform the positive shapes of the approved logo into a substantial satin violet porcelain-like sculptural object while preserving its precise frontal identity and spelling. Use an orthographic frontal camera so the name remains easy to read and the approved proportions stay recognizable. Extrude the symbol and letters to a clear depth approximately eight percent of the symbol's height, with softly rounded bevels, visible side faces, and controlled occlusion. The result must visibly have depth, not merely a flat purple graphic with a drop shadow.

The symbol's front material is based on #8A5AA5 violet, with realistic lighter highlights and darker purple side shading from a soft upper-left studio light. The wordmark becomes coherent raised sculptural deep-plum lettering based on #4F2873, with the same lettering shapes and exact approved lines. Give the typography its own readable dimensional bevels without making counters close or letters join. Both existing small eye crescents remain deep-plum opaque inlay-like sculptural details in their original locations.

All faces, neck openings, infant openings, letter counters, spaces, and surrounding canvas remain full alpha cutouts through the object. Never fill these spaces with a porcelain plate, skin-colored face, transparent glass, background disc, plaque, connected backing sheet, or floor. Isolated eye marks and isolated letters are permitted floating parts in this logo asset. Use light on the object itself, without a cast shadow on an invented receiving surface. No plinth, stage, jewelry item, extra object, room, border, or photographic scenery.

Maintain the original front-facing symbol silhouette and text arrangement. Extrusion and bevels may introduce physically meaningful side contours, but must not redraw profiles, add eyelashes, erase an accent, obscure an apostrophe, or change the approved words. The material is satin rather than mirror chrome; highlights should clarify the rounding and depth without washing out the lettering. This PNG is a full 3D-style rendered logo asset, not a deliverable mesh or an animated scene.

EXACT APPROVED COPY TO PRESERVE

Render precisely these 2 approved line(s), unchanged from the first reference:
Semana Mundial
do Aleitamento Materno

COPY RISKS
Aleitamento is the supplied Portuguese word. Preserve the lowercase do and masculine Materno; do not borrow Lactancia from Spanish.

# Active generation contract — v4.0.0

This is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.

Read the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.

## D — active design rules

### D-01

FORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.

### D-02

COLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.

### D-03

ONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.

### D-04

MEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.

### D-05

PURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.

### D-06

CONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.

### D-07

READABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.

### D-08

INTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.

### D-09

CONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.

### D-10

NUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.

### D-11

OPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.

### D-12

RESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.

### D-13

COHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.

### D-14

RADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.

### D-15

PURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.

### D-16

AUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.

### D-17

LETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.

## W — active working principles

### W-01

Each candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.

### W-02

Solve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.

### W-03

Let the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.

### W-04

Seek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.

### W-05

Seek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.

### W-06

Make thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.

### W-07

Design for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.

### W-08

Choose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.

### W-09

Require particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.

### W-10

Give each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.

### W-11

Solve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.

### W-12

Reduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.

### W-13

Establish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.

### W-14

Make the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.

### W-15

Use reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.

### W-16

Seek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.

### W-17

Describe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.

### W-18

Consider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.

### W-19

Preserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.

### W-20

Put communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.

## C — active control questions

### C-01

Which observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.

### C-02

Can this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?

### C-03

What actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?

### C-04

Did simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?

### C-05

Does one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?

### C-06

What dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?

## I — full curriculum of methods and examples

### I-01 — Peter Behrens

Curriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.

### I-02 — A.M. Cassandre

Curriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.

### I-03 — Paul Rand

Curriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.

### I-04 — Saul Bass

Curriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.

### I-05 — Raymond Loewy

Curriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.

### I-06 — Milton Glaser

Curriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.

### I-07 — Ivan Chermayeff

Curriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.

### I-08 — Tom Geismar

Curriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.

### I-09 — Otl Aicher

Curriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.

### I-10 — Yusaku Kamekura

Curriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.

### I-11 — Alan Fletcher

Curriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.

### I-12 — Herb Lubalin

Curriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.

### I-13 — Walter Landor

Curriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.

### I-14 — Carolyn Davidson

Curriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.

### I-15 — Rob Janoff

Curriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.

### I-16 — Lindon Leader

Curriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.

### I-17 — Paula Scher

Curriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.

### I-18 — Henry Steiner

The source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.

### I-19 — Michael Bierut

Curriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.



HISTORICAL REFERENCE MECHANISMS

ATTACHED REFERENCE 2: GI19 / dog & fish
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Direct visual verification
A dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.

Transferable inspiration
**When this is useful:** Two subjects share a contour or figure/ground boundary.

**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.

**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?

ATTACHED REFERENCE 3: ST44 / COUNTERS
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical description
The boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.

Usable formal mechanisms
Make the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.

Fit conditions
Useful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.

Conflicts, risks, and scale or monochrome adaptations
A forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.

What not to copy
Do not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.

ATTACHED REFERENCE 4: ST74 / BRACKETING
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical design description
Let two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.

Usable mechanisms
Two complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.

Fit conditions
Useful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.

Conflicts, scale, monochrome, and adaptations
Generic ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.

What not to copy
Do not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.

release-pt-light.txt

creative/prompts/logos/release-pt-light.txt

TXT · 31,934 B

Pokaż treść
OUTPUT STAGE: STANDALONE LOGO
APPROVED WORDMARK: Semana Mundial do Aleitamento Materno

CRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK

The earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.

RELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY

The owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.

REFERENCE MAP
first image: [APPROVED-PT] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.
second image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.
third image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.
fourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.
END REFERENCE MAP

ACTUAL IDENTITY LOCK

The first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.

Keep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.

EXACT LETTERING IS PART OF THE APPROVED IDENTITY

Use only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.

Only the approved name is visible. Do not print the market key, country, language, mode name, hex value, file name, numbering, annotation, subtitle, slogan, year, offer, percentage, website, registration mark, signature, brandkit title, corporate endorsement, or a reference brand. This call returns a production asset, so its workflow labels remain invisible. A checkerboard, color chip, mode badge, or white rectangle with the logo on it is not part of the logo.

TRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT

The output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.

Preserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.

Think of the PNG as artwork that can be placed over any destination canvas. When the receiving page is dark, the transparent faces and counters reveal that dark page; when it is light, they reveal the light page. Do not bake either destination into this asset. The mode-specific colors below govern only the opaque artwork. A suggestion of a web canvas color is contextual information for contrast, never permission to render a background.

SINGLE-ASSET COMPOSITION AND DELIVERY

Return one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.

FINAL INTERNAL COMPARISON

Before returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.

Then inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.

MODE: LIGHT TRANSPARENT FLAT LOGO

Retain the approved flat design. Fill the complete positive mother-and-infant symbol with sRGB #8A5AA5. Fill the entire approved text and both closed-eye crescents with sRGB #4F2873. Keep these colors uniform and opaque. Remove the source background and every pale internal negative shape to full transparency. The light mode means these dark-enough artwork colors are intended for light destination surfaces; it does not mean adding a white or lilac background inside the PNG.

No depth, bevel, extrusion, material reflection, shadow, glow, metallic finish, embossing, gradient, grain, paper texture, or lighting effect. Preserve the source's exact contours and typography. Normal antialiasing may occur at boundaries only. This is the flat light-mode master for web and layout placement, with the source palette retained in the positive artwork and genuine alpha in all empty regions.

EXACT APPROVED COPY TO PRESERVE

Render precisely these 2 approved line(s), unchanged from the first reference:
Semana Mundial
do Aleitamento Materno

COPY RISKS
Aleitamento is the supplied Portuguese word. Preserve the lowercase do and masculine Materno; do not borrow Lactancia from Spanish.

# Active generation contract — v4.0.0

This is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.

Read the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.

## D — active design rules

### D-01

FORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.

### D-02

COLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.

### D-03

ONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.

### D-04

MEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.

### D-05

PURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.

### D-06

CONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.

### D-07

READABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.

### D-08

INTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.

### D-09

CONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.

### D-10

NUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.

### D-11

OPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.

### D-12

RESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.

### D-13

COHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.

### D-14

RADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.

### D-15

PURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.

### D-16

AUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.

### D-17

LETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.

## W — active working principles

### W-01

Each candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.

### W-02

Solve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.

### W-03

Let the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.

### W-04

Seek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.

### W-05

Seek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.

### W-06

Make thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.

### W-07

Design for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.

### W-08

Choose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.

### W-09

Require particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.

### W-10

Give each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.

### W-11

Solve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.

### W-12

Reduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.

### W-13

Establish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.

### W-14

Make the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.

### W-15

Use reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.

### W-16

Seek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.

### W-17

Describe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.

### W-18

Consider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.

### W-19

Preserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.

### W-20

Put communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.

## C — active control questions

### C-01

Which observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.

### C-02

Can this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?

### C-03

What actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?

### C-04

Did simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?

### C-05

Does one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?

### C-06

What dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?

## I — full curriculum of methods and examples

### I-01 — Peter Behrens

Curriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.

### I-02 — A.M. Cassandre

Curriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.

### I-03 — Paul Rand

Curriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.

### I-04 — Saul Bass

Curriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.

### I-05 — Raymond Loewy

Curriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.

### I-06 — Milton Glaser

Curriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.

### I-07 — Ivan Chermayeff

Curriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.

### I-08 — Tom Geismar

Curriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.

### I-09 — Otl Aicher

Curriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.

### I-10 — Yusaku Kamekura

Curriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.

### I-11 — Alan Fletcher

Curriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.

### I-12 — Herb Lubalin

Curriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.

### I-13 — Walter Landor

Curriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.

### I-14 — Carolyn Davidson

Curriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.

### I-15 — Rob Janoff

Curriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.

### I-16 — Lindon Leader

Curriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.

### I-17 — Paula Scher

Curriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.

### I-18 — Henry Steiner

The source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.

### I-19 — Michael Bierut

Curriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.



HISTORICAL REFERENCE MECHANISMS

ATTACHED REFERENCE 2: GI19 / dog & fish
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Direct visual verification
A dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.

Transferable inspiration
**When this is useful:** Two subjects share a contour or figure/ground boundary.

**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.

**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?

ATTACHED REFERENCE 3: ST44 / COUNTERS
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical description
The boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.

Usable formal mechanisms
Make the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.

Fit conditions
Useful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.

Conflicts, risks, and scale or monochrome adaptations
A forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.

What not to copy
Do not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.

ATTACHED REFERENCE 4: ST74 / BRACKETING
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical design description
Let two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.

Usable mechanisms
Two complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.

Fit conditions
Useful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.

Conflicts, scale, monochrome, and adaptations
Generic ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.

What not to copy
Do not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.

Preserve the baseline of every approved text line. A physical-looking letter may have a beveled face, but its front silhouette still follows the selected humanist sans design. No letter tilts independently or moves out of alignment.

release-uk-dark.txt

creative/prompts/logos/release-uk-dark.txt

TXT · 31,940 B

Pokaż treść
OUTPUT STAGE: STANDALONE LOGO
APPROVED WORDMARK: International Babywearing Week

CRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK

The earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.

RELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY

The owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.

REFERENCE MAP
first image: [APPROVED-UK] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.
second image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.
third image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.
fourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.
END REFERENCE MAP

ACTUAL IDENTITY LOCK

The first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.

Keep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.

EXACT LETTERING IS PART OF THE APPROVED IDENTITY

Use only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.

Only the approved name is visible. Do not print the market key, country, language, mode name, hex value, file name, numbering, annotation, subtitle, slogan, year, offer, percentage, website, registration mark, signature, brandkit title, corporate endorsement, or a reference brand. This call returns a production asset, so its workflow labels remain invisible. A checkerboard, color chip, mode badge, or white rectangle with the logo on it is not part of the logo.

TRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT

The output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.

Preserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.

Think of the PNG as artwork that can be placed over any destination canvas. When the receiving page is dark, the transparent faces and counters reveal that dark page; when it is light, they reveal the light page. Do not bake either destination into this asset. The mode-specific colors below govern only the opaque artwork. A suggestion of a web canvas color is contextual information for contrast, never permission to render a background.

SINGLE-ASSET COMPOSITION AND DELIVERY

Return one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.

FINAL INTERNAL COMPARISON

Before returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.

Then inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.

MODE: DARK TRANSPARENT FLAT LOGO

Preserve the approved flat geometry and replace only its opaque artwork colors. The complete positive mother-and-infant symbol is sRGB #C9A7E1. The entire approved text and both closed-eye crescents are sRGB #F5EEFA. These lighter opaque colors are intended to contrast with a dark website canvas such as #251330. Do not draw that dark canvas, or any other canvas color, inside the PNG. Every original background and negative-space region becomes fully transparent.

Do not invert the topology or fill the faces pale simply because this is dark mode. Both faces reveal the receiving page through alpha; only their two existing eye crescents remain opaque pale lilac. Letter counters reveal the receiving page as well. No depth, bevel, extrusion, grain, metallic effect, shadow, halo, glow, or gradient. This is a clean flat two-color adaptation of the approved actual logo, with every contour and line of text preserved.

EXACT APPROVED COPY TO PRESERVE

Render precisely these 2 approved line(s), unchanged from the first reference:
International
Babywearing Week

COPY RISKS
Babywearing is the supplied UK term, written as one word. Do not replace it with Breastfeeding used in the EU version.

# Active generation contract — v4.0.0

This is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.

Read the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.

## D — active design rules

### D-01

FORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.

### D-02

COLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.

### D-03

ONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.

### D-04

MEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.

### D-05

PURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.

### D-06

CONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.

### D-07

READABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.

### D-08

INTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.

### D-09

CONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.

### D-10

NUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.

### D-11

OPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.

### D-12

RESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.

### D-13

COHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.

### D-14

RADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.

### D-15

PURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.

### D-16

AUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.

### D-17

LETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.

## W — active working principles

### W-01

Each candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.

### W-02

Solve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.

### W-03

Let the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.

### W-04

Seek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.

### W-05

Seek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.

### W-06

Make thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.

### W-07

Design for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.

### W-08

Choose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.

### W-09

Require particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.

### W-10

Give each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.

### W-11

Solve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.

### W-12

Reduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.

### W-13

Establish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.

### W-14

Make the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.

### W-15

Use reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.

### W-16

Seek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.

### W-17

Describe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.

### W-18

Consider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.

### W-19

Preserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.

### W-20

Put communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.

## C — active control questions

### C-01

Which observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.

### C-02

Can this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?

### C-03

What actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?

### C-04

Did simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?

### C-05

Does one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?

### C-06

What dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?

## I — full curriculum of methods and examples

### I-01 — Peter Behrens

Curriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.

### I-02 — A.M. Cassandre

Curriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.

### I-03 — Paul Rand

Curriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.

### I-04 — Saul Bass

Curriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.

### I-05 — Raymond Loewy

Curriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.

### I-06 — Milton Glaser

Curriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.

### I-07 — Ivan Chermayeff

Curriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.

### I-08 — Tom Geismar

Curriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.

### I-09 — Otl Aicher

Curriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.

### I-10 — Yusaku Kamekura

Curriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.

### I-11 — Alan Fletcher

Curriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.

### I-12 — Herb Lubalin

Curriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.

### I-13 — Walter Landor

Curriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.

### I-14 — Carolyn Davidson

Curriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.

### I-15 — Rob Janoff

Curriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.

### I-16 — Lindon Leader

Curriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.

### I-17 — Paula Scher

Curriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.

### I-18 — Henry Steiner

The source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.

### I-19 — Michael Bierut

Curriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.



HISTORICAL REFERENCE MECHANISMS

ATTACHED REFERENCE 2: GI19 / dog & fish
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Direct visual verification
A dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.

Transferable inspiration
**When this is useful:** Two subjects share a contour or figure/ground boundary.

**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.

**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?

ATTACHED REFERENCE 3: ST44 / COUNTERS
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical description
The boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.

Usable formal mechanisms
Make the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.

Fit conditions
Useful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.

Conflicts, risks, and scale or monochrome adaptations
A forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.

What not to copy
Do not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.

ATTACHED REFERENCE 4: ST74 / BRACKETING
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical design description
Let two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.

Usable mechanisms
Two complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.

Fit conditions
Useful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.

Conflicts, scale, monochrome, and adaptations
Generic ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.

What not to copy
Do not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.

Preserve the baseline of every approved text line. A physical-looking letter may have a beveled face, but its front silhouette still follows the selected humanist sans design. No letter tilts independently or moves out of alignment.

release-uk-full-3d.txt

creative/prompts/logos/release-uk-full-3d.txt

TXT · 32,000 B

Pokaż treść
OUTPUT STAGE: STANDALONE LOGO
APPROVED WORDMARK: International Babywearing Week

CRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK

The earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.

RELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY

The owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.

REFERENCE MAP
first image: [APPROVED-UK] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.
second image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.
third image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.
fourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.
END REFERENCE MAP

ACTUAL IDENTITY LOCK

The first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.

Keep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.

EXACT LETTERING IS PART OF THE APPROVED IDENTITY

Use only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.

TRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT

The output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.

Preserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.

SINGLE-ASSET COMPOSITION AND DELIVERY

Return one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.

FINAL INTERNAL COMPARISON

Before returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.

Then inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.

MODE: FULL 3D TRANSPARENT SCULPTURAL LOGO

Transform the positive shapes of the approved logo into a substantial satin violet porcelain-like sculptural object while preserving its precise frontal identity and spelling. Use an orthographic frontal camera so the name remains easy to read and the approved proportions stay recognizable. Extrude the symbol and letters to a clear depth approximately eight percent of the symbol's height, with softly rounded bevels, visible side faces, and controlled occlusion. The result must visibly have depth, not merely a flat purple graphic with a drop shadow.

The symbol's front material is based on #8A5AA5 violet, with realistic lighter highlights and darker purple side shading from a soft upper-left studio light. The wordmark becomes coherent raised sculptural deep-plum lettering based on #4F2873, with the same lettering shapes and exact approved lines. Give the typography its own readable dimensional bevels without making counters close or letters join. Both existing small eye crescents remain deep-plum opaque inlay-like sculptural details in their original locations.

All faces, neck openings, infant openings, letter counters, spaces, and surrounding canvas remain full alpha cutouts through the object. Never fill these spaces with a porcelain plate, skin-colored face, transparent glass, background disc, plaque, connected backing sheet, or floor. Isolated eye marks and isolated letters are permitted floating parts in this logo asset. Use light on the object itself, without a cast shadow on an invented receiving surface. No plinth, stage, jewelry item, extra object, room, border, or photographic scenery.

Maintain the original front-facing symbol silhouette and text arrangement. Extrusion and bevels may introduce physically meaningful side contours, but must not redraw profiles, add eyelashes, erase an accent, obscure an apostrophe, or change the approved words. The material is satin rather than mirror chrome; highlights should clarify the rounding and depth without washing out the lettering. This PNG is a full 3D-style rendered logo asset, not a deliverable mesh or an animated scene.

EXACT APPROVED COPY TO PRESERVE

Render precisely these 2 approved line(s), unchanged from the first reference:
International
Babywearing Week

COPY RISKS
Babywearing is the supplied UK term, written as one word. Do not replace it with Breastfeeding used in the EU version.

# Active generation contract — v4.0.0

This is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.

Read the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.

## D — active design rules

### D-01

FORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.

### D-02

COLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.

### D-03

ONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.

### D-04

MEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.

### D-05

PURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.

### D-06

CONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.

### D-07

READABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.

### D-08

INTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.

### D-09

CONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.

### D-10

NUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.

### D-11

OPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.

### D-12

RESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.

### D-13

COHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.

### D-14

RADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.

### D-15

PURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.

### D-16

AUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.

### D-17

LETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.

## W — active working principles

### W-01

Each candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.

### W-02

Solve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.

### W-03

Let the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.

### W-04

Seek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.

### W-05

Seek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.

### W-06

Make thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.

### W-07

Design for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.

### W-08

Choose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.

### W-09

Require particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.

### W-10

Give each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.

### W-11

Solve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.

### W-12

Reduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.

### W-13

Establish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.

### W-14

Make the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.

### W-15

Use reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.

### W-16

Seek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.

### W-17

Describe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.

### W-18

Consider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.

### W-19

Preserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.

### W-20

Put communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.

## C — active control questions

### C-01

Which observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.

### C-02

Can this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?

### C-03

What actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?

### C-04

Did simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?

### C-05

Does one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?

### C-06

What dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?

## I — full curriculum of methods and examples

### I-01 — Peter Behrens

Curriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.

### I-02 — A.M. Cassandre

Curriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.

### I-03 — Paul Rand

Curriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.

### I-04 — Saul Bass

Curriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.

### I-05 — Raymond Loewy

Curriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.

### I-06 — Milton Glaser

Curriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.

### I-07 — Ivan Chermayeff

Curriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.

### I-08 — Tom Geismar

Curriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.

### I-09 — Otl Aicher

Curriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.

### I-10 — Yusaku Kamekura

Curriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.

### I-11 — Alan Fletcher

Curriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.

### I-12 — Herb Lubalin

Curriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.

### I-13 — Walter Landor

Curriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.

### I-14 — Carolyn Davidson

Curriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.

### I-15 — Rob Janoff

Curriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.

### I-16 — Lindon Leader

Curriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.

### I-17 — Paula Scher

Curriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.

### I-18 — Henry Steiner

The source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.

### I-19 — Michael Bierut

Curriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.



HISTORICAL REFERENCE MECHANISMS

ATTACHED REFERENCE 2: GI19 / dog & fish
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Direct visual verification
A dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.

Transferable inspiration
**When this is useful:** Two subjects share a contour or figure/ground boundary.

**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.

**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?

ATTACHED REFERENCE 3: ST44 / COUNTERS
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical description
The boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.

Usable formal mechanisms
Make the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.

Fit conditions
Useful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.

Conflicts, risks, and scale or monochrome adaptations
A forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.

What not to copy
Do not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.

ATTACHED REFERENCE 4: ST74 / BRACKETING
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical design description
Let two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.

Usable mechanisms
Two complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.

Fit conditions
Useful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.

Conflicts, scale, monochrome, and adaptations
Generic ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.

What not to copy
Do not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.

release-uk-light.txt

creative/prompts/logos/release-uk-light.txt

TXT · 32,014 B

Pokaż treść
OUTPUT STAGE: STANDALONE LOGO
APPROVED WORDMARK: International Babywearing Week

CRITICAL RELEASE CORRECTION: CLEAN ALPHA AND OPAQUE ARTWORK

The earlier transparent export produced stray magenta/blue fringe pixels, nearly transparent speckles, and slightly translucent interiors. Prevent those defects in this native export. All intended solid interior artwork must have alpha 255, except normal narrow antialiasing at its true contour. Every genuinely empty pixel must have alpha 0. No isolated residual pixels may appear in the faces, letter counters, interline gaps, or outer margin. Edge RGB must be a natural continuation of the adjacent purple artwork, never neon magenta, saturated blue, white matte, or a chroma-key color. Do not approximate transparency with a low-opacity colored residue. Render a clean native cutout from the first approved reference, preserving exact lettering and both closed eyes. This cleanup changes no identity geometry.

RELEASE ASSET: THE APPROVED LOGO ON TRUE TRANSPARENCY

The owner has approved the supplied actual language logo. This call prepares one final transparent PNG adaptation of that selected identity. Edit the FIRST attached image and preserve the exact approved mother-and-infant symbol, wordmark spelling, case, typography, line breaks, proportions, and spatial relationship. Change only the presentation properties explicitly required by this call's LIGHT, DARK, or FULL-3D mode below. These are not new concepts, new localizations, or a new round of palette proposals. Return one complete logo asset once, not a board or an arrangement of variants.

REFERENCE MAP
first image: [APPROVED-UK] Owner-approved actual localized purple mother-and-infant logo. This is the direct identity and lettering master for this asset; preserve its actual symbol and exact localized text. Remove the pale background into real alpha transparency.
second image: [GI19] dog & fish, historical inspiration for the selected identity's shared contour. Retained for provenance and conceptual continuity; never replace the selected logo with its animals, wording, or composition.
third image: [ST44] COUNTERS, historical negative-space construction reference. Preserve the actual selected logo's meaningful internal openings, profiles, eyes, and letter counters.
fourth image: [ST74] BRACKETING, historical held-space construction reference. Preserve the approved enclosing silhouette rather than inventing ribbon arms, diamonds, or an alternate framing device.
END REFERENCE MAP

ACTUAL IDENTITY LOCK

The first image shows one organic emblem above the supplied name. A mother bends her head toward the infant at her breast. The hair and outer body make a flowing substantial enclosing form, with a rounded crown, a broad left sweep, and a lower cradling curve. Her face is a precisely shaped negative opening with an existing lowered profile and one small closed-eye crescent. The infant's negative head is nestled lower on the right and turns toward the breast; it contains the second small closed-eye crescent. Both eyes, both profiles, and every interior contour belong to the approved design.

Keep the complete source lockup, including its symbol-to-text scale, centered alignment, distance between symbol and first text line, prescribed line count, and natural text widths. The transparent canvas may retain the same generous margins as the first image. Do not rearrange the logo into a horizontal lockup, move the text over the infant, add a caption, or create a second symbol-only logo. Do not compress the artwork to make it look like a sticker or expand it until accents and extremities touch the canvas edge.

EXACT LETTERING IS PART OF THE APPROVED IDENTITY

Use only this call's exact approved wordmark and source line breaks. The same words are already present in the first image; preserve them rather than translating, paraphrasing, replacing them with a related market name, or retyping them in another font. Keep the original substantial rounded humanist sans character, open counters, soft terminals, upright posture, and optical rhythm. Preserve the number and relative placement of letters, spaces, apostrophes, ampersands, dashes, and diacritics. Every supplied uppercase and lowercase distinction is intentional.

Only the approved name is visible. Do not print the market key, country, language, mode name, hex value, file name, numbering, annotation, subtitle, slogan, year, offer, percentage, website, registration mark, signature, brandkit title, corporate endorsement, or a reference brand. This call returns a production asset, so its workflow labels remain invisible. A checkerboard, color chip, mode badge, or white rectangle with the logo on it is not part of the logo.

TRUE ALPHA TRANSPARENCY IS A HARD REQUIREMENT

The output must be a PNG with genuine transparent pixels, using the tool's transparent_background option. Remove the entire pale lilac canvas background. Make all negative-space regions of the approved symbol truly transparent, including the mother's face and neck/breast opening, the infant's face and body opening, every open channel, and the spaces between the two figures. Remove background color from all letter counters, spaces between letters, line gaps, and surrounding clear space. These regions are openings through the artwork, not pale-colored skin, white shapes, glass surfaces, translucent lilac material, or opaque filled masks.

Preserve the two positive eye crescents as visible opaque marks over the otherwise transparent facial openings. Preserve opaque letter strokes, dots, accents, punctuation, and the approved positive symbol mass. Standard semitransparent antialiasing is allowed only along actual artwork edges; it must not leave a pale matte, fringe, halo, large translucent rectangle, blurred cloud, or shadow field around the logo. The empty canvas and interior openings must have alpha zero. No visible background whatsoever, including black, gray, cream, white, lilac, or a painted checkerboard.

Think of the PNG as artwork that can be placed over any destination canvas. When the receiving page is dark, the transparent faces and counters reveal that dark page; when it is light, they reveal the light page. Do not bake either destination into this asset. The mode-specific colors below govern only the opaque artwork. A suggestion of a web canvas color is contextual information for contrast, never permission to render a background.

SINGLE-ASSET COMPOSITION AND DELIVERY

Return one square transparent PNG showing the entire approved logo at a useful inspection size. Keep every word, diacritic, eye, symbol extremity, and any permitted three-dimensional side face inside the canvas. Maintain generous transparent clearance. No crop marks, artboard outline, bounding box, thumbnail duplicate, monochrome comparison, full-color comparison, responsive system, palette board, poster, packaging mockup, screen, photograph, room, furniture, pedestal, or decorative scene.

FINAL INTERNAL COMPARISON

Before returning, compare the output directly with the first attached logo. Verify both mother and infant profiles, both closed eyes, the rounded crown, the broad left sweep, the cradling bottom, the lower taper, and the exact source lockup. Read each word in order rather than guessing it from familiarity. Compare every supplied diacritic, apostrophe, dash, ampersand, repeated word, compound, and uppercase/lowercase choice. Verify the prescribed line count and each actual line break. Confirm that no extra lettering has appeared.

Then inspect the mode-specific finish and genuine alpha. Light and dark variants are flat artwork with their designated two colors, while full 3D has the specified material and visible depth. All three require transparent surroundings and transparent internal negative spaces. A flattened pale rectangle, opaque face fill, missing eye, changed word, misplaced accent, extra line, or redesigned symbol is a failed asset. Correct the specific defect while preserving the approved actual identity.

MODE: LIGHT TRANSPARENT FLAT LOGO

Retain the approved flat design. Fill the complete positive mother-and-infant symbol with sRGB #8A5AA5. Fill the entire approved text and both closed-eye crescents with sRGB #4F2873. Keep these colors uniform and opaque. Remove the source background and every pale internal negative shape to full transparency. The light mode means these dark-enough artwork colors are intended for light destination surfaces; it does not mean adding a white or lilac background inside the PNG.

No depth, bevel, extrusion, material reflection, shadow, glow, metallic finish, embossing, gradient, grain, paper texture, or lighting effect. Preserve the source's exact contours and typography. Normal antialiasing may occur at boundaries only. This is the flat light-mode master for web and layout placement, with the source palette retained in the positive artwork and genuine alpha in all empty regions.

EXACT APPROVED COPY TO PRESERVE

Render precisely these 2 approved line(s), unchanged from the first reference:
International
Babywearing Week

COPY RISKS
Babywearing is the supplied UK term, written as one word. Do not replace it with Breastfeeding used in the EU version.

# Active generation contract — v4.0.0

This is the single operative D/W/I/C contract for authored ImageGen prompts. It replaces the earlier practice of dispatching a historical imperative and then a conflicting exception. Preserve `source-contract-en.md` and `resolved-design-contract.md` as provenance and migration history; do not copy their superseded D/W/I/C formulations into an authored prompt. The current user requested this consolidated rewrite. Stable IDs preserve traceability across all 62 sections.

Read the full contract. Include the 62 active sections in each authored prompt alongside the current concept, ordered references and stage-specific output. The sections describe quality and judgment; they do not require every technique, designer influence, responsive variant or proof to appear in one image. Stage A returns exactly one standalone logo per call. Stage B reproduces a selected actual identity in its board. An independently authored reference to a historical designer or example is not proof of attribution, licensing, originality or legal clearance. The I sections preserve the owner's curriculum and its examples; apply relevant lessons as methods, never as identities to copy or 19 simultaneous styles.

## D — active design rules

### D-01

FORMAL PRECISION. Use clean, intentional contours, economical joins and controlled curvature in geometric, calligraphic or organic construction. Inspect edges, tangencies and joins. Raster concepts can suggest reconstructible form; verified nodes and production-ready paths require an inspected vector master.

### D-02

COLOR ACROSS MEDIA. Assign deliberate color roles and preserve approved RGB values. Identify the ICC conversion or label CMYK approximate; never invent Pantone matches or promise identical print/screen color. Shape must work in one flat color. Palette labels belong to the requested stage; generated swatches are not production proofs.

### D-03

ONE AUTHORED RELATIONSHIP. Relate symbol and type through rhythm, stance, scale, movement, contour or purposeful contrast. Shared geometry is one method. Integrated forms need intentional joins; separate forms need a convincing relationship. Judge the whole without color; reject indifferent icon-plus-font assembly, not coherent counterpoint.

### D-04

MEANINGFUL SYNTHESIS. Let the idea justify an independent symbol, expressive wordmark, letter-derived image, negative space, emblem or other construction. Integrate letters only when anatomy and natural reading support it. Repetition may serve different necessary jobs. Remove redundancy and forced substitutions; monograms and two-symbol puzzles are optional.

### D-05

PURPOSEFUL SUPPORT. Frames, outlines, enclosures, bands and repeated contours may carry identity. Test which meaning, hierarchy or recognizable shape disappears upon removal. Keep necessary construction and remove inert ornament. Useful background fields, UI masks and board boundaries have separate roles.

### D-06

CONTROLLED WEIGHT AND RHYTHM. Give related components coherent anatomy and optical logic. Monoline, thick/thin contrast, taper and optical variants are eligible. Inspect accidental weakness, density changes and inconsistent repetition. Normalize within the chosen grammar; mechanical equality is not the universal goal.

### D-07

READABLE DIAGONALS. Correct disruptive interletter gaps through spacing, proportion or contour consistent with the chosen lettering. Squared vertices are optional. Inspect the complete name’s light/dark rhythm and protect recognizable anatomy; do not damage naturally open letters to equalize every space.

### D-08

INTENTIONAL ALIGNMENT. Select a coherent baseline and terminal grammar: level, arced, stepped, dynamic or otherwise justified. Preserve natural reading and whole-word rhythm, with optical overshoot and controlled terminal variation. Reject arbitrary bouncing and damaged neighbors; flat baselines and one terminal angle are optional.

### D-09

CONTROLLED CONTOURS AND READINGS. Geometry, organic curvature and brush movement may all serve the concept. Inspect exterior and meaningful internal spaces for intended and credible unwanted audience readings. Reject accidental wobble or harmful ambiguity. Constant radii are optional; remote resemblance does not justify sterilizing a useful form.

### D-10

NUMERAL HIERARCHY. Distinguish invariant brand numerals from dates, editions, product codes and annotations. Integrate digits when conceptually necessary; genuine secondary information may remain separately typeset. Preserve approved data and hierarchy. Reject invented heritage and accidental attachments. Apply only when this information exists.

### D-11

OPTICAL MASS AND DIRECTION. Balance the mark in its intended orientation while preserving deliberate asymmetry, energy and tension. Rotation can diagnose imbalance; rotational equivalence is required only by the actual concept or use. Correct accidental tipping without imposing central symmetry or a stabilizing base.

### D-12

RESPONSIVE MICRO BEHAVIOR. Preserve diagnostic shape and essential counters at the smallest relevant use; adapt display detail first. Derive micro forms from the same identity. A complete wordmark need not fit 16 pixels. Actual-size and production tests require evidence; enlarged counters never guarantee ink, engraving or embroidery performance.

### D-13

COHERENT OPENINGS. Give angles, peaks and openings a related optical rhythm. Equal angles may suit a modular alphabet; other lettering can use controlled variation. Inspect disruptive isolated peaks in the whole word. Do not force numerical equality that harms glyph recognition or expressive character.

### D-14

RADIAL CONSTRUCTION WHEN RELEVANT. Establish geometry and readable optical spacing for an actual arc or circle. Equal modules may use equal angular divisions; different glyphs need width-sensitive spacing. Reject arbitrary placement and false precision. No radial concept means no requirement for a circular badge.

### D-15

PURPOSEFUL COLOR. Color may articulate structure, hierarchy, recognition or atmosphere, including supporting fields. Essential identity must also survive as one flat color through silhouette, counters or structural relationships. Effects cannot rescue a weak mark. Requested black/white proofs contain no residual colored accents.

### D-16

AUTONOMOUS MICRO IDENTIFIER. Reuse the symbol, a deliberately complete identifying glyph or a responsive adaptation of the same idea. Extra monograms and containers are optional. Reject arbitrary crops and unrelated substitutes. At standalone exploration this is a design consideration, not a request for extra logo options on one image.

### D-17

LETTERING FITTED TO USE. Fit type grammar to scale, format and audience. Script, serif, sans-serif and expressive lettering may suit horizontal, vertical, circular or integrated forms when readable. Simplify responsively without replacing the identity. Compact layouts do not automatically require technical uppercase sans.

## W — active working principles

### W-01

Each candidate proposes one coherent visual language across logo, product, factory, catalog and poster. Ten exploration candidates are ten possible languages; do not impose one shared house style before selection.

### W-02

Solve the problem well before seeking novelty. Originality must improve recognition or expression of this brand’s idea. Competent imitation and arbitrary weirdness are both insufficient.

### W-03

Let the logo organize the whole identity rather than decorate only packaging, web or mobile. One focused identifier can support this range without depicting every product, department or value.

### W-04

Seek a strong poster’s decisive hierarchy: recognition at a glance and at the intended distance. Test actual uses; do not claim that every full wordmark reads instantly at every scale.

### W-05

Seek a distinctive, memorable and clear identifier with a particular recognition point. Check concrete resemblance and category shortcuts. Visual judgment does not prove worldwide uniqueness, customer recall or legal clearance.

### W-06

Make thought visible: the actual mark must enact its relationship, expression or perceptual event. A persuasive caption cannot supply it. Return the requested image, not private deliberation.

### W-07

Design for useful longevity and consider animation potential. The static identity must work before motion, fashion or effects. This does not require motion lines or an animation deliverable.

### W-08

Choose an independent symbol, integrated icon, expressive wordmark or meaningful letter relationship. When symbol and type coexist, their character, weight, movement and mood must complement or deliberately counterbalance. A separate pictogram is optional.

### W-09

Require particular visual authorship beyond technical correctness: a strong discovery, unmistakable character, exceptional lettering or another observable achievement. Judge the bare logo; mockups and effects cannot provide its missing force.

### W-10

Give each logo one strong idea and excellent execution. Necessary elements may cooperate; remove competing stories. Breadth belongs across ten separate outputs, not inside one overloaded logo or card.

### W-11

Solve the brand problem, then jointly choose meaning, type grammar, dynamics, integration and style mechanisms. The agent commits the idea and reference roles; ImageGen finds the form without a predetermined contour recipe.

### W-12

Reduce until every relationship earns its place. Simplicity follows a resolved idea; it is not compulsory empty geometry. Keep necessary expression, meaningful enclosures and useful contrast.

### W-13

Establish one dominant recognition point in the silhouette, rhythm, relationship or lettering. It need not be a tiny added detail. Supporting elements strengthen it instead of competing.

### W-14

Make the logo a tool for recognition, decisions and consistent identity. Beauty serves that job. Attractive decoration without a defensible brand or use relationship is insufficient.

### W-15

Use reconstructible geometry, modules, controlled curves, proportions or another coherent grammar, including optical correction. Document measured versus proposed values. Never invent ratios or force all gaps and strokes to be identical.

### W-16

Seek maximum force from the fewest necessary forms. Reductive, figurative, typographic and expressive designs can all be economical. Evaluate each form’s work rather than merely counting shapes.

### W-17

Describe the idea through evidence, its intended visible event and counter-reading. Explain the observed selected result. Neither the entire business story nor an invented post-hoc rationale must be squeezed into one logo.

### W-18

Consider the customer’s actual decision when product and mark are encountered together. Fit tone, clarity and identity behavior to that moment. Label assumptions about profitability, status and emotional response.

### W-19

Preserve a clear symbolic or typographic core and use responsive forms across the actual scale range. Test full logo and micro identifier in their intended roles. Preserve character; do not demand a full long name inside a 16-pixel favicon.

### W-20

Put communication before embellishment. Keep expression that conveys the intended identity; remove decoration that obscures reading, weakens the idea or merely follows fashion.

## C — active control questions

### C-01

Which observable rule lets this candidate support a coherent identity across product, catalog, poster, packaging, web and mobile? Do not confuse coherence within one identity with sameness among ten concepts.

### C-02

Can this idea organize the brand’s identity beyond one application without forcing the logo to illustrate the entire company?

### C-03

What actual feature supports distinctive form and clear reading? What remains untested in customer memory, competitor comparison and legal clearance?

### C-04

Did simplicity emerge from a resolved idea, or did a blanket restriction remove its character? Does every retained element perform necessary work?

### C-05

Does one defensible brand facet become a compelling visible relationship, expressive character or typographic event, working with the actual name? Compare metaphors and cultural readings; neither a rebus nor the whole brand story is compulsory. Does the claimed event exist in the pixels?

### C-06

What dominant feature distinguishes this candidate from the other nine, and does it remain meaningful without color, explanation or a mockup?

## I — full curriculum of methods and examples

### I-01 — Peter Behrens

Curriculum example: the AEG system. Transfer coordinated identity, geometry and modularity in place of inert ornament. Apply systematic relationships across relevant uses; geometry is one possible construction, not every candidate’s compulsory aesthetic.

### I-02 — A.M. Cassandre

Curriculum example: the Yves Saint Laurent monogram. Treat typography as architecture: letter relationships can create monumental simplicity and spatial illusion. Use the actual name’s opportunities; do not copy the silhouette or require interlaced initials.

### I-03 — Paul Rand

Curriculum examples: ABC, IBM and UPS. Seek simplicity that results from resolving the design problem. Reduction should remain particular and memorable; famous corporate silhouettes and generic bare geometry do not reproduce the method.

### I-04 — Saul Bass

Curriculum examples: AT&T and United Airlines. Make thinking visible through a compelling organizing metaphor and consider its animation potential. Convey one consequential brand idea without narrating the entire company or borrowing the examples’ shapes.

### I-05 — Raymond Loewy

Curriculum examples: Shell, Exxon and Lucky Strike. Consider strong clean form and progressive symbolism as signals of agency. Use this method when warranted; futurism, streamlining and historic silhouettes are not mandatory aesthetics.

### I-06 — Milton Glaser

Curriculum examples: I ♥ NY, DC Comics and Brooklyn Brewery. Combine memorable visual discovery with a human, relatable and pleasant presence. Particular character and delight must fit the brand; generic friendliness and unrelated flourishes are insufficient.

### I-07 — Ivan Chermayeff

Curriculum examples: Chase Manhattan, National Geographic and Pan Am. Solve the problem before visual treatment, then use reduction or abstraction where recognition benefits. Minimal corporate symbolism is available, not universal. These source examples do not establish independent attribution.

### I-08 — Tom Geismar

Curriculum examples: Mobil and the NBC Peacock. Exercise coherent visual judgment and give the brand one decisive point of recognition. Treat the logo as a useful tool; a distinguishing feature must identify, not merely decorate.

### I-09 — Otl Aicher

Curriculum example: Lufthansa. Consider disciplined systems, appropriate grids and consistent communication across applications and beyond words. Transfer consistency without requiring identical grids, monoline geometry or one typographic register across candidates.

### I-10 — Yusaku Kamekura

Curriculum examples: the Tokyo 1964 Olympics and Nikon, from the owner’s Japanese graphic-design curriculum. Seek maximum force with few forms and consistency across logos, posters and pictograms. Preserve particular expression instead of defaulting to generic minimal emblems.

### I-11 — Alan Fletcher

Curriculum examples: Reuters and V&A. Build around an actual idea; technical craft alone is empty. A typographic relationship, perceptual discovery or concise visual event gives the viewer something particular. Assess it in the image rather than its caption.

### I-12 — Herb Lubalin

Curriculum examples: Mother & Child, Families and ITC Avant Garde. Typography can itself be image; letters carry meaning beyond sound and interweaving may create a second reading. A ligature can carry an entire logo when natural reading survives. It is an opportunity, not a universal obligation.

### I-13 — Walter Landor

Curriculum examples: Bank of America, Alitalia and Cotton Incorporated’s cotton mark. Product and logo can participate in one purchasing decision. Fit identity behavior to this audience, product and encounter; attractive form detached from that decision is incomplete.

### I-14 — Carolyn Davidson

Curriculum example: the Nike Swoosh. A concise gesture can convey motion and remain forceful from a tag to a stadium. Transfer economy, direction and silhouette when useful; do not copy the Swoosh or prescribe a speed stroke for every brand.

### I-15 — Rob Janoff

Curriculum example: Apple. Protect clear form across relevant scales and a distinguishing detail that supports recognition. Communication outranks embellishment. The feature may be a whole relationship; it need not be another bite, notch or isolated cut.

### I-16 — Lindon Leader

Curriculum examples: FedEx and Hawaiian Airlines. Negative space can carry meaning and invite discovery without shouting; the FedEx arrow illustrates the method. A secondary reading must fit this idea and preserve primary recognition. Do not copy the arrow or force hidden imagery.

### I-17 — Paula Scher

Curriculum examples: Citibank, The Public Theater and Windows 8. Balance unmistakable eccentricity with practical use. Expressive typography and hierarchy can carry character; keep brand fitness and readability while allowing boldness rather than averaging everything into safety.

### I-18 — Henry Steiner

The source names Henry Steiner without an example or lesson. Editorial lens for this workflow, not a historical claim or quotation: test visual meaning across the brief’s actual audiences and cultural contexts. Verify specific historical attributions before relying on them.

### I-19 — Michael Bierut

Curriculum examples: Saks Fifth Avenue, New York Jets, The New York Times Building and MIT Media Lab. Use modularity to extend a distinctive core into an adaptable identity. Let the selected idea govern extension; avoid generic tiles, compulsory grids and extra options in a standalone image.



HISTORICAL REFERENCE MECHANISMS

ATTACHED REFERENCE 2: GI19 / dog & fish
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Direct visual verification
A dark fish-like curved figure encloses the white profile of a dog. The same internal lobe is a fin for one reading and an ear for the other, with contrasting eye dots. The dark dog & fish lettering uses warm, substantial, slightly sculpted forms and a quieter ampersand.

Transferable inspiration
**When this is useful:** Two subjects share a contour or figure/ground boundary.

**What to transfer:** Inspect the boundary separately from both readings, then inspect the whole for hierarchy and typographic affinity.

**Evaluation question:** Does each reading have credible diagnostic anatomy without forced stretching, explanatory color or a caption?

ATTACHED REFERENCE 3: ST44 / COUNTERS
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical description
The boundaries between meaningful outer forms create a second figure or glyph in negative space. Plan the main reading, secondary discovery, and connecting gaps as one system. Both readings must survive without a caption, and the hidden relation must justify its presence. Negative-space cleverness never excuses broken spelling, implausible anatomy, or an unreadable small mark.

Usable formal mechanisms
Make the same boundary serve both positive modules and a meaningful counter-figure. Plan the primary reading, secondary discovery, and width of the shared negative pathway together.

Fit conditions
Useful when the concept contains two genuinely related meanings, a consequential absence, a shared space, or a name/glyph relation that can be structurally expressed. A hidden symbol is optional, not a universal definition of good logo design.

Conflicts, risks, and scale or monochrome adaptations
A forced puzzle may weaken both readings; narrow gaps close at small size or inversion. Test positive and negative one-color versions separately, preserving the intended topology. Do not declare the “aha” successful from an explanatory caption alone, and do not trade spelling for hidden symbolism.

What not to copy
Do not copy the four green components, colored K-arrow assembly, red S-like arrangement, or HORIZON slivers. Do not insert an unrelated hidden symbol solely to claim cleverness.

ATTACHED REFERENCE 4: ST74 / BRACKETING
These descriptions identify the attached design mechanisms; they are not text to draw in the output. The current concept assigns their jobs.

Canonical design description
Let two complementary arms define a central negative shape. The central absence can become the conceptual core while the surrounding parts explain how it is created, held, or completed. The arms may be symmetric or deliberately complementary; their exact form follows the idea. Protect the internal opening at small scale and in reversed polarity. A contrast adaptation must preserve the meaning of that opening rather than filling it arbitrarily. Generic brackets around an anonymous diamond are not a complete concept.

Usable mechanisms
Two complementary presences can define a meaningful absence. The central space may be the primary symbol while the arms explain the relationship that creates it.

Fit conditions
Useful for an idea in which mutual contribution, held space, or completion matters. The concept must identify what the space means; generic 'synergy' is insufficient by itself.

Conflicts, scale, monochrome, and adaptations
Generic ribbon diamonds are common. Internal openings must survive dark inversion and reduced sizes. A separately filled central module is only a contrast adaptation if it preserves the idea; filling a meaningful void arbitrarily may destroy the concept. A background-independent cutout does not automatically mean a colored center.

What not to copy
Do not copy the source folded-ribbon arrangements, central diamonds, color combinations, or assume every relationship needs bilateral symmetry.

Transparent clear space must be continuous all the way to the outer canvas edges. No faint pale rectangle, edge stroke, vignette, or residual source background should survive around the artwork.

The final file contains exactly one logo and no explanatory or comparative content. All production instructions stay outside the visible asset.

direction-lock.json

direction-lock.json

JSON · 3,512 B

Pokaż treść
{
  "edition": "v1",
  "brand": "MILKIES Weltstillwoche",
  "identity": {
    "source": "sources/identity-originals/",
    "status": "user_locked",
    "locales": 11,
    "variant_policy": "preserve approved raster identity; native edits are not pixel-identical extraction"
  },
  "palette": {
    "violet": "#8A5AA5",
    "plum": "#4F2873",
    "lilac": "#F5EEFA",
    "night": "#251330",
    "lavender": "#C9A7E1",
    "white": "#FFFFFF"
  },
  "typography": {
    "family": "Nunito Sans",
    "fallback": "ui-sans-serif, system-ui, sans-serif",
    "source": "assets/fonts/NunitoSans-Variable.ttf",
    "license": "assets/fonts/OFL.txt",
    "weights": [
      400,
      600,
      700,
      800
    ],
    "logo": "Native custom lettering; not a claim that logo uses Nunito Sans",
    "scale": {
      "display": {
        "size": "clamp(2.5rem, 6vw, 5rem)",
        "line_height": 1.05,
        "weight": 800
      },
      "h1": {
        "size": "clamp(2rem, 4vw, 3.5rem)",
        "line_height": 1.1,
        "weight": 800
      },
      "h2": {
        "size": "clamp(1.5rem, 2.5vw, 2.5rem)",
        "line_height": 1.15,
        "weight": 700
      },
      "body": {
        "size": "1rem",
        "line_height": 1.6,
        "weight": 400
      },
      "caption": {
        "size": "0.875rem",
        "line_height": 1.5,
        "weight": 600
      }
    }
  },
  "references": [
    {
      "path": "sources/identity-originals/de-at.png",
      "sha256": "75d44618488955f588cd608383279656efb465db32426c31ede9e52032660126",
      "role": "approved_campaign_identity"
    },
    {
      "path": "sources/identity-originals/pl.png",
      "sha256": "355209916241bf0fade6d42aea7f22f2a7f3622fbace8ad1cc9ed8ce16702da4",
      "role": "approved_campaign_identity"
    },
    {
      "path": "sources/identity-originals/nl.png",
      "sha256": "cfb3f2bf93746789594218978e027a5e6d5650318df948f57918ce6678451625",
      "role": "approved_campaign_identity"
    },
    {
      "path": "sources/identity-originals/pt.png",
      "sha256": "17e639b0329c0a573e87eb5dec2a5638729df10a32a907b45f2a29f10f44b933",
      "role": "approved_campaign_identity"
    },
    {
      "path": "sources/identity-originals/eu.png",
      "sha256": "478ec58b69540a1f152963951a37be0f2433965b5b398e645c23b27e440422bb",
      "role": "approved_campaign_identity"
    },
    {
      "path": "sources/identity-originals/it.png",
      "sha256": "b15139839a3891340a8f6cbad68e0b058eb2f6e9919e06a8f67a706ff159c0b2",
      "role": "approved_campaign_identity"
    },
    {
      "path": "sources/identity-originals/be-nl.png",
      "sha256": "6f8d7ba95fc4fc3c4681536907cde30c3832328f147b2a5055b3d74dbcd8fd60",
      "role": "approved_campaign_identity"
    },
    {
      "path": "sources/identity-originals/be-fr.png",
      "sha256": "da43fe316705306f0a29ce030f7367de120e770ece7fcdd465a4040d9a636193",
      "role": "approved_campaign_identity"
    },
    {
      "path": "sources/identity-originals/uk.png",
      "sha256": "fd690c0c69d4bf9358e29cce1b6b5a6ba977beb6466255786be308050e51dfad",
      "role": "approved_campaign_identity"
    },
    {
      "path": "sources/identity-originals/es.png",
      "sha256": "fbeb6ecb9ee1450386d48530592474cb65e3daafdae3e79af15cc867716583c4",
      "role": "approved_campaign_identity"
    },
    {
      "path": "sources/identity-originals/fr.png",
      "sha256": "9b3e81181b851d8461ef4491a3093dd1f98bf3023731b66c1729eecb9124d6db",
      "role": "approved_campaign_identity"
    }
  ]
}

exact-copy.json

exact-copy.json

JSON · 10,910 B

Pokaż treść
{
  "schema_version": 1,
  "source": "Current user market-name list and approval on 2026-09-30",
  "status": "user_locked",
  "locales": [
    {
      "key": "DE-AT",
      "locale_codes": [
        "de-DE",
        "de-AT"
      ],
      "name": "Deutschland / Österreich",
      "exact_copy": "Weltstillwoche",
      "approved_line_breaks": [
        "Weltstillwoche"
      ],
      "approved_source_path": "sources/identity-originals/de-at.png",
      "approved_source_sha256": "75d44618488955f588cd608383279656efb465db32426c31ede9e52032660126",
      "approval_source": "Owner selected violet and approved all displayed localized logos in current conversation, 2026-09-30.",
      "approval_scope": "Campaign identity and names; no offer/date approval",
      "status": "user_locked",
      "asset_paths": {
        "light": "assets/logos/de-at/light.png",
        "dark": "assets/logos/de-at/dark.png",
        "full_3d": "assets/logos/de-at/full-3d.png",
        "web_light": "assets/logos/de-at/web-light.png",
        "web_dark": "assets/logos/de-at/web-dark.png"
      }
    },
    {
      "key": "PL",
      "locale_codes": [
        "pl-PL"
      ],
      "name": "Polska",
      "exact_copy": "Międzynarodowy Tydzień Noszenia & Tydzień Bliskości",
      "approved_line_breaks": [
        "Międzynarodowy",
        "Tydzień Noszenia",
        "& Tydzień Bliskości"
      ],
      "approved_source_path": "sources/identity-originals/pl.png",
      "approved_source_sha256": "355209916241bf0fade6d42aea7f22f2a7f3622fbace8ad1cc9ed8ce16702da4",
      "approval_source": "Owner selected violet and approved all displayed localized logos in current conversation, 2026-09-30.",
      "approval_scope": "Campaign identity and names; no offer/date approval",
      "status": "user_locked",
      "asset_paths": {
        "light": "assets/logos/pl/light.png",
        "dark": "assets/logos/pl/dark.png",
        "full_3d": "assets/logos/pl/full-3d.png",
        "web_light": "assets/logos/pl/web-light.png",
        "web_dark": "assets/logos/pl/web-dark.png"
      }
    },
    {
      "key": "NL",
      "locale_codes": [
        "nl-NL"
      ],
      "name": "Niderlandy",
      "exact_copy": "Landelijke Borstvoedingsweek",
      "approved_line_breaks": [
        "Landelijke",
        "Borstvoedingsweek"
      ],
      "approved_source_path": "sources/identity-originals/nl.png",
      "approved_source_sha256": "cfb3f2bf93746789594218978e027a5e6d5650318df948f57918ce6678451625",
      "approval_source": "Owner selected violet and approved all displayed localized logos in current conversation, 2026-09-30.",
      "approval_scope": "Campaign identity and names; no offer/date approval",
      "status": "user_locked",
      "asset_paths": {
        "light": "assets/logos/nl/light.png",
        "dark": "assets/logos/nl/dark.png",
        "full_3d": "assets/logos/nl/full-3d.png",
        "web_light": "assets/logos/nl/web-light.png",
        "web_dark": "assets/logos/nl/web-dark.png"
      }
    },
    {
      "key": "PT",
      "locale_codes": [
        "pt-PT"
      ],
      "name": "Portugalia",
      "exact_copy": "Semana Mundial do Aleitamento Materno",
      "approved_line_breaks": [
        "Semana Mundial",
        "do Aleitamento Materno"
      ],
      "approved_source_path": "sources/identity-originals/pt.png",
      "approved_source_sha256": "17e639b0329c0a573e87eb5dec2a5638729df10a32a907b45f2a29f10f44b933",
      "approval_source": "Owner selected violet and approved all displayed localized logos in current conversation, 2026-09-30.",
      "approval_scope": "Campaign identity and names; no offer/date approval",
      "status": "user_locked",
      "asset_paths": {
        "light": "assets/logos/pt/light.png",
        "dark": "assets/logos/pt/dark.png",
        "full_3d": "assets/logos/pt/full-3d.png",
        "web_light": "assets/logos/pt/web-light.png",
        "web_dark": "assets/logos/pt/web-dark.png"
      }
    },
    {
      "key": "EU",
      "locale_codes": [
        "en-GB"
      ],
      "name": "Wersja międzynarodowa",
      "exact_copy": "International Breastfeeding Week",
      "approved_line_breaks": [
        "International",
        "Breastfeeding Week"
      ],
      "approved_source_path": "sources/identity-originals/eu.png",
      "approved_source_sha256": "478ec58b69540a1f152963951a37be0f2433965b5b398e645c23b27e440422bb",
      "approval_source": "Owner selected violet and approved all displayed localized logos in current conversation, 2026-09-30.",
      "approval_scope": "Campaign identity and names; no offer/date approval",
      "status": "user_locked",
      "asset_paths": {
        "light": "assets/logos/eu/light.png",
        "dark": "assets/logos/eu/dark.png",
        "full_3d": "assets/logos/eu/full-3d.png",
        "web_light": "assets/logos/eu/web-light.png",
        "web_dark": "assets/logos/eu/web-dark.png"
      }
    },
    {
      "key": "IT",
      "locale_codes": [
        "it-IT"
      ],
      "name": "Włochy",
      "exact_copy": "SAM – Settimana Mondiale per l'Allattamento Materno",
      "approved_line_breaks": [
        "SAM – Settimana Mondiale",
        "per l'Allattamento Materno"
      ],
      "approved_source_path": "sources/identity-originals/it.png",
      "approved_source_sha256": "b15139839a3891340a8f6cbad68e0b058eb2f6e9919e06a8f67a706ff159c0b2",
      "approval_source": "Owner selected violet and approved all displayed localized logos in current conversation, 2026-09-30.",
      "approval_scope": "Campaign identity and names; no offer/date approval",
      "status": "user_locked",
      "asset_paths": {
        "light": "assets/logos/it/light.png",
        "dark": "assets/logos/it/dark.png",
        "full_3d": "assets/logos/it/full-3d.png",
        "web_light": "assets/logos/it/web-light.png",
        "web_dark": "assets/logos/it/web-dark.png"
      }
    },
    {
      "key": "BE-NL",
      "locale_codes": [
        "nl-BE"
      ],
      "name": "Belgia · niderlandzki",
      "exact_copy": "Wereldborstvoedingsweek",
      "approved_line_breaks": [
        "Wereldborstvoedingsweek"
      ],
      "approved_source_path": "sources/identity-originals/be-nl.png",
      "approved_source_sha256": "6f8d7ba95fc4fc3c4681536907cde30c3832328f147b2a5055b3d74dbcd8fd60",
      "approval_source": "Owner selected violet and approved all displayed localized logos in current conversation, 2026-09-30.",
      "approval_scope": "Campaign identity and names; no offer/date approval",
      "status": "user_locked",
      "asset_paths": {
        "light": "assets/logos/be-nl/light.png",
        "dark": "assets/logos/be-nl/dark.png",
        "full_3d": "assets/logos/be-nl/full-3d.png",
        "web_light": "assets/logos/be-nl/web-light.png",
        "web_dark": "assets/logos/be-nl/web-dark.png"
      }
    },
    {
      "key": "BE-FR",
      "locale_codes": [
        "fr-BE"
      ],
      "name": "Belgia · francuski",
      "exact_copy": "Semaine mondiale de l'allaitement",
      "approved_line_breaks": [
        "Semaine mondiale",
        "de l'allaitement"
      ],
      "approved_source_path": "sources/identity-originals/be-fr.png",
      "approved_source_sha256": "da43fe316705306f0a29ce030f7367de120e770ece7fcdd465a4040d9a636193",
      "approval_source": "Owner selected violet and approved all displayed localized logos in current conversation, 2026-09-30.",
      "approval_scope": "Campaign identity and names; no offer/date approval",
      "status": "user_locked",
      "asset_paths": {
        "light": "assets/logos/be-fr/light.png",
        "dark": "assets/logos/be-fr/dark.png",
        "full_3d": "assets/logos/be-fr/full-3d.png",
        "web_light": "assets/logos/be-fr/web-light.png",
        "web_dark": "assets/logos/be-fr/web-dark.png"
      }
    },
    {
      "key": "UK",
      "locale_codes": [
        "en-GB"
      ],
      "name": "Wielka Brytania",
      "exact_copy": "International Babywearing Week",
      "approved_line_breaks": [
        "International",
        "Babywearing Week"
      ],
      "approved_source_path": "sources/identity-originals/uk.png",
      "approved_source_sha256": "fd690c0c69d4bf9358e29cce1b6b5a6ba977beb6466255786be308050e51dfad",
      "approval_source": "Owner selected violet and approved all displayed localized logos in current conversation, 2026-09-30.",
      "approval_scope": "Campaign identity and names; no offer/date approval",
      "status": "user_locked",
      "asset_paths": {
        "light": "assets/logos/uk/light.png",
        "dark": "assets/logos/uk/dark.png",
        "full_3d": "assets/logos/uk/full-3d.png",
        "web_light": "assets/logos/uk/web-light.png",
        "web_dark": "assets/logos/uk/web-dark.png"
      }
    },
    {
      "key": "ES",
      "locale_codes": [
        "es-ES"
      ],
      "name": "Hiszpania",
      "exact_copy": "Semana Mundial de la Lactancia Materna",
      "approved_line_breaks": [
        "Semana Mundial",
        "de la Lactancia Materna"
      ],
      "approved_source_path": "sources/identity-originals/es.png",
      "approved_source_sha256": "fbeb6ecb9ee1450386d48530592474cb65e3daafdae3e79af15cc867716583c4",
      "approval_source": "Owner selected violet and approved all displayed localized logos in current conversation, 2026-09-30.",
      "approval_scope": "Campaign identity and names; no offer/date approval",
      "status": "user_locked",
      "asset_paths": {
        "light": "assets/logos/es/light.png",
        "dark": "assets/logos/es/dark.png",
        "full_3d": "assets/logos/es/full-3d.png",
        "web_light": "assets/logos/es/web-light.png",
        "web_dark": "assets/logos/es/web-dark.png"
      }
    },
    {
      "key": "FR",
      "locale_codes": [
        "fr-FR"
      ],
      "name": "Francja",
      "exact_copy": "Semaine Mondiale de l'Allaitement Maternel",
      "approved_line_breaks": [
        "Semaine Mondiale",
        "de l'Allaitement Maternel"
      ],
      "approved_source_path": "sources/identity-originals/fr.png",
      "approved_source_sha256": "9b3e81181b851d8461ef4491a3093dd1f98bf3023731b66c1729eecb9124d6db",
      "approval_source": "Owner selected violet and approved all displayed localized logos in current conversation, 2026-09-30.",
      "approval_scope": "Campaign identity and names; no offer/date approval",
      "status": "user_locked",
      "asset_paths": {
        "light": "assets/logos/fr/light.png",
        "dark": "assets/logos/fr/dark.png",
        "full_3d": "assets/logos/fr/full-3d.png",
        "web_light": "assets/logos/fr/web-light.png",
        "web_dark": "assets/logos/fr/web-dark.png"
      }
    }
  ],
  "note": "The UK and PL names concern babywearing/closeness, other markets breastfeeding. These are owner-supplied campaign labels, not equivalent literal translations or verified international event names/dates."
}

generation-log.json

generation-log.json

JSON · 15,483 B

Pokaż treść
{
  "schema_version": "1.0",
  "edition": "v1",
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      "tool": "image_gen.imagegen",
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          "original_runtime_path": "/workspace/scratch/940ebd499e62/attachments/bac1a885-f407-4b24-97ee-3df92fc4f360/image.png",
          "bundled": true
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      ],
      "output_path": "boards/01-campaign-world.png",
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      "one_shot": true,
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      ],
      "postprocessing": "byte-for-byte copy only",
      "actual_source_ledger": "qa/boards-01-05-generation.json",
      "provider_generation_id": "not_exposed; internal ledger id used"
    },
    {
      "id": "board-02-native-attempt-1",
      "board_id": "02",
      "tool": "image_gen.imagegen",
      "model_evidence": "not_exposed",
      "prompt_path": "prompts/02.txt",
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        },
        {
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      "output_path": "boards/02-logo-system.png",
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      "postprocessing": "byte-for-byte copy only",
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    },
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      "board_id": "03",
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      "model_evidence": "not_exposed",
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          "bundled": true
        },
        {
          "role": "current visual anchor",
          "path": "boards/01-campaign-world.png",
          "sha256": "94fe667acc263a392381d8c7d9283f0752af73e1062716991a0ed0e7e58c4618",
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      ],
      "output_path": "boards/03-palette-type.png",
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      "postprocessing": "byte-for-byte copy only",
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      "provider_generation_id": "not_exposed; internal ledger id used"
    },
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      "id": "board-04-native-attempt-1",
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      "postprocessing": "byte-for-byte copy only",
      "actual_source_ledger": "qa/boards-01-05-generation.json",
      "provider_generation_id": "not_exposed; internal ledger id used"
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    {
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        {
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      "output_path": "boards/05-type-ui-motifs.png",
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      "postprocessing": "byte-for-byte copy only",
      "actual_source_ledger": "qa/boards-01-05-generation.json",
      "provider_generation_id": "not_exposed; internal ledger id used"
    },
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      "id": "board-06-native-attempt-1",
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      "output_path": "boards/06-social.png",
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      "postprocessing": "byte-for-byte copy only",
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      "provider_generation_id": "not_exposed; internal ledger id used"
    },
    {
      "id": "board-07-native-attempt-3",
      "board_id": "07",
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      ],
      "postprocessing": "byte-for-byte copy only",
      "actual_source_ledger": "qa/boards-06-10-generation.json",
      "provider_generation_id": "not_exposed; internal ledger id used"
    },
    {
      "id": "board-08-native-attempt-1",
      "board_id": "08",
      "tool": "image_gen__imagegen",
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          "order": 1,
          "path": "sources/identity-originals/de-at.png",
          "sha256": "75d44618488955f588cd608383279656efb465db32426c31ede9e52032660126",
          "role": "approved campaign identity master",
          "original_runtime_path": "/workspace/scratch/940ebd499e62/attachments/bac1a885-f407-4b24-97ee-3df92fc4f360/image.png",
          "bundled": true
        },
        {
          "order": 2,
          "path": "boards/01-campaign-world.png",
          "sha256": "94fe667acc263a392381d8c7d9283f0752af73e1062716991a0ed0e7e58c4618",
          "role": "visual anchor, style only",
          "original_runtime_path": "/workspace/scratch/940ebd499e62/MILKIES_WELTSTILLWOCHE_BRANDKIT/boards/01-campaign-world.png",
          "bundled": true
        }
      ],
      "output_path": "boards/08-newsletter.png",
      "output_sha256": "7da45d9b9b2cfb171496e40edad4b16f2baf53799869adacb4941739fea98edc",
      "one_shot": true,
      "success": true,
      "transparent_background": false,
      "actual_dimensions": [
        1254,
        1254
      ],
      "postprocessing": "byte-for-byte copy only",
      "actual_source_ledger": "qa/boards-06-10-generation.json",
      "provider_generation_id": "not_exposed; internal ledger id used"
    },
    {
      "id": "board-09-native-attempt-1",
      "board_id": "09",
      "tool": "image_gen__imagegen",
      "model_evidence": "not_exposed",
      "prompt_path": "prompts/09.txt",
      "prompt_sha256": "b9b726bf812a6e122ff2003fb6f7e9183af037fbdd874b559a02f5f1a7d6db6c",
      "references": [
        {
          "order": 1,
          "path": "sources/identity-originals/de-at.png",
          "sha256": "75d44618488955f588cd608383279656efb465db32426c31ede9e52032660126",
          "role": "approved campaign identity master",
          "original_runtime_path": "/workspace/scratch/940ebd499e62/attachments/bac1a885-f407-4b24-97ee-3df92fc4f360/image.png",
          "bundled": true
        },
        {
          "order": 2,
          "path": "boards/01-campaign-world.png",
          "sha256": "94fe667acc263a392381d8c7d9283f0752af73e1062716991a0ed0e7e58c4618",
          "role": "visual anchor, style only",
          "original_runtime_path": "/workspace/scratch/940ebd499e62/MILKIES_WELTSTILLWOCHE_BRANDKIT/boards/01-campaign-world.png",
          "bundled": true
        }
      ],
      "output_path": "boards/09-print.png",
      "output_sha256": "a20eda2006ed98495e99fa13c1f308efc4fb139c3fa4a81fb38391300ec0b6c7",
      "one_shot": true,
      "success": true,
      "transparent_background": false,
      "actual_dimensions": [
        1254,
        1254
      ],
      "postprocessing": "byte-for-byte copy only",
      "actual_source_ledger": "qa/boards-06-10-generation.json",
      "provider_generation_id": "not_exposed; internal ledger id used"
    },
    {
      "id": "board-10-native-attempt-1",
      "board_id": "10",
      "tool": "image_gen__imagegen",
      "model_evidence": "not_exposed",
      "prompt_path": "prompts/10.txt",
      "prompt_sha256": "1aa94ace0b536befdb1a984ea7ae5aceaf4b7e1220c80bef2511e47fb85990bf",
      "references": [
        {
          "order": 1,
          "path": "sources/identity-originals/de-at.png",
          "sha256": "75d44618488955f588cd608383279656efb465db32426c31ede9e52032660126",
          "role": "approved campaign identity master",
          "original_runtime_path": "/workspace/scratch/940ebd499e62/attachments/bac1a885-f407-4b24-97ee-3df92fc4f360/image.png",
          "bundled": true
        },
        {
          "order": 2,
          "path": "boards/01-campaign-world.png",
          "sha256": "94fe667acc263a392381d8c7d9283f0752af73e1062716991a0ed0e7e58c4618",
          "role": "visual anchor, style only",
          "original_runtime_path": "/workspace/scratch/940ebd499e62/MILKIES_WELTSTILLWOCHE_BRANDKIT/boards/01-campaign-world.png",
          "bundled": true
        }
      ],
      "output_path": "boards/10-toolkit.png",
      "output_sha256": "e8735b096fc031367b8749ef61eead4fc2201af342361f93e665775de2eec738",
      "one_shot": true,
      "success": true,
      "transparent_background": false,
      "actual_dimensions": [
        1254,
        1254
      ],
      "postprocessing": "byte-for-byte copy only",
      "actual_source_ledger": "qa/boards-06-10-generation.json",
      "provider_generation_id": "not_exposed; internal ledger id used"
    }
  ],
  "additional_native_asset_ledgers": [
    "qa/logo-generation.json",
    "qa/toolkit-generation.json"
  ],
  "native_method": "Each complete board was generated independently via native ImageGen; final selected output bytes are unchanged. Internal ledger IDs are not provider-issued image IDs."
}

index.html

index.html

HTML · plik katalogu / inwentarza

Plik katalogu lub końcowego inwentarza. Otwórz aktualny oryginał poniżej.

manifest.json

manifest.json

JSON · plik katalogu / inwentarza

Plik katalogu lub końcowego inwentarza. Otwórz aktualny oryginał poniżej.

observations.json

observations.json

JSON · 6,107 B

Pokaż treść
[
  {
    "board_id": "01",
    "path": "boards/01-campaign-world.png",
    "observed": "Pale lilac daylight field; a flat mother-and-infant campaign emblem above the German wordmark; glossy rounded violet relief headline “Nähe, die bleibt.”; large soft enclosing arcs framing a mother kissing a sleeping infant. Linen swatch and porcelain disc link the emotional scene to tangible soft/textural and ceramic material cues. Three unlabelled palette circles demonstrate role contrast, not exact color metrology.",
    "sha256": "94fe667acc263a392381d8c7d9283f0752af73e1062716991a0ed0e7e58c4618",
    "source": "observed",
    "reviewer": "/root/release_package"
  },
  {
    "board_id": "02",
    "path": "boards/02-logo-system.png",
    "observed": "A four-part logo system: flat violet/plum artwork on lilac, lavender/white artwork on deep plum, standalone mother-and-infant symbol, and a porcelain-relief logo. Light/Dark/Symbol/3D labels distinguish uses. Identity topology is visually retained, while generated occurrences are not pixel-identical source reproductions.",
    "sha256": "e280d3a7be2a2c06d11fc219cfb56bcee69e06c759803204b237c283169d8664",
    "source": "observed",
    "reviewer": "/root/release_package"
  },
  {
    "board_id": "03",
    "path": "boards/03-palette-type.png",
    "observed": "Five raised material swatches labelled #8A5AA5, #4F2873, #F5EEFA, #C9A7E1, #251330; left WEB text labelled Nunito Sans and right CREATIVE “Nähe” in rounded porcelain relief. The bottom dark strip combines symbol and pale wordmark. Labels document intended token values; rendered shading is not a color measurement, and the native font label does not prove actual font outlines.",
    "sha256": "641bf72a94829428c58328f7d27d55c73f836b48548b0849140926911fea7bec",
    "source": "observed",
    "reviewer": "/root/release_package"
  },
  {
    "board_id": "04",
    "path": "boards/04-photography.png",
    "observed": "Three close documentary-style scenes: mother and awake infant, infant gripping an adult finger, and a mother kissing a bundled sleeping child. Broad violet curves divide organic panels. Skin texture, knit/linen fabric and gentle window daylight support intimacy. No jewellery or product SKU is depicted.",
    "sha256": "62e23719bd67a38a1684772b41be41a71c0b4f291f03228529f857d5efe502ad",
    "source": "observed",
    "reviewer": "/root/release_package"
  },
  {
    "board_id": "05",
    "path": "boards/05-type-ui-motifs.png",
    "observed": "Large porcelain-relief headline over lilac material and cloth. The lower area presents filled and outlined actions, light/dark controls, flowing open arcs and a secondary outline heart. Native UI examples retain material/shadow styling; the included WEB implementation uses flat accessible controls. The heart is a secondary creative motif, not replacement campaign logo geometry.",
    "sha256": "6d2a1826432ca79a0bd3cc7740eda406c32562b7b4502d19ef453a12a3324d2c",
    "source": "observed",
    "reviewer": "/root/release_package"
  },
  {
    "board_id": "06",
    "path": "boards/06-social.png",
    "observed": "Square and tall social examples combine the mother/infant campaign emblem, rounded relief German headline and pill-shaped Entdecken action. One example shows an infant hand held by an adult; the tall example repeats the mother-and-child portrait. Lilac textile and porcelain samples reinforce the same material family. These are board-level composition examples; their actual portrait communication geometry is not certified.",
    "sha256": "ef45272dca1f5893d02538d39684ec55c0b0f046b2f234ce5aba4eb1572b3f5c",
    "source": "observed",
    "reviewer": "/root/release_package"
  },
  {
    "board_id": "07",
    "path": "boards/07-web.png",
    "observed": "Two offer-neutral website branches each show wide and compact reflow. MILKIES uses mother/infant closeness; DIY by MILKIES uses hands folding a lilac textile beside an infant cardigan. All four final banner examples contain the literal campaign identity and the dimensional headline, with no CTA chips. Branch names are plain labels, not reconstructed corporate marks. Panel geometry illustrates reflow and does not constitute production 16:9/1:1 exports.",
    "sha256": "e9560b1294e78341476037004c7292d288cb2921ce712270187d4b805ebd46bb",
    "source": "observed",
    "reviewer": "/root/release_package"
  },
  {
    "board_id": "08",
    "path": "boards/08-newsletter.png",
    "observed": "A large campaign hero with emblem and dimensional headline is followed by a flat readable story module (“Ein Moment für uns.” / “Kleine Momente. Große Nähe.”), a simple Entdecken action and a close-up family photograph. Rounded light panels establish a modular newsletter hierarchy; the production adapter converts utility copy to live text.",
    "sha256": "7da45d9b9b2cfb171496e40edad4b16f2baf53799869adacb4941739fea98edc",
    "source": "observed",
    "reviewer": "/root/release_package"
  },
  {
    "board_id": "09",
    "path": "boards/09-print.png",
    "observed": "Front/back print concept uses a light lilac field, flat campaign identity, a dimensional front headline, woven linen lower area, and a back with “Ein Moment für uns.” above a mother/infant photograph. The two separate cards are illustration of a print system, not imposed print files, proofed color or verified trim/bleed.",
    "sha256": "a20eda2006ed98495e99fa13c1f308efc4fb139c3fa4a81fb38391300ec0b6c7",
    "source": "observed",
    "reviewer": "/root/release_package"
  },
  {
    "board_id": "10",
    "path": "boards/10-toolkit.png",
    "observed": "Toolkit board groups the campaign emblem and wordmark, porcelain headline, linen and ceramic material samples, paired enclosing crescent arcs, and light/dark button surfaces. A family photograph bridges the toolkit into lived warmth. Reusable motifs can exist as flat arcs or shallow solid porcelain forms; they remain secondary to identity and copy.",
    "sha256": "e8735b096fc031367b8749ef61eead4fc2201af342361f93e665775de2eec738",
    "source": "observed",
    "reviewer": "/root/release_package"
  }
]

01.txt

prompts/01.txt

TXT · 2,589 B

Pokaż treść
Create one complete professional square 1:1 brandkit foundation board, native image composition, for the approved MILKIES campaign Weltstillwoche. This is board 01: the campaign world. Reference image 1 is the approved campaign identity; preserve its exact maternal enclosing silhouette, two negative-space face profiles, both closed-eye crescents and rounded wordmark. Use that logo once as a clean modest identity signature at upper left; it stays flat. No other parent-brand mark is requested on this board.
Art direction: “held light” — soft protective curved forms, satin violet porcelain, lilac linen, a generous expanse of very pale lavender. Adult, warm and modern, no childish decoration. Tight palette targets: symbol violet #8A5AA5, plum #4F2873, pale lavender #F5EEFA; lilac highlight #C9A7E1, deepest plum #251330. Natural skin remains neutral. Build a striking editorial composition with a large quiet left/upper zone for dominant sculptural campaign copy and a candid cropped photograph on the lower-right: an adult mother in a simple off-white shirt holding her sleeping infant close against her chest, heads touching, natural hands supporting the baby, soft side window daylight, authentic unretouched skin, intimate everyday moment rather than posed catalog smile. This is generated illustrative photography, no claim of real customer.
The dominant headline uses large rounded sans letters made of substantial satin violet porcelain: crisp faces, clearly visible darker extruded sidewalls, soft rounded bevels, upper-left illumination and believable self-shadow. Headline is two lines “Nähe,” then “die bleibt.” Every character including umlaut and punctuation fully readable. A single broad open sculptural embracing arc flows behind the photograph and around the outer headline edge without covering letters. Two small tactile material samples at bottom-left, lilac woven fabric and violet porcelain; three adjacent unlabeled color discs. The layout should feel like an art-directed mood manifesto rather than a rigid dashboard or a contact sheet.
Exact visible copy inventory, no other text: small board number “01”; title “Kampagnenwelt”; identity wordmark “Weltstillwoche” once as part of supplied logo; main headline “Nähe, die bleibt.” with specified two lines; small material labels “Porzellan” and “Leinen”. All visible typography is natively generated. Large useful lettering, generous safe margins, no discounts, dates, percentages, URLs, product renderings, jewelry, CTA, extra badges or slogans. Native square output.

02.txt

prompts/02.txt

TXT · 2,059 B

Pokaż treść
Create one complete native square 1:1 professional brandkit board for approved Weltstillwoche campaign. Reference1 is identity authority: preserve enclosing mother nursing infant silhouette, two negative-space face profiles, two crescent closed eyes and rounded wordmark. Reference2 is the edition visual anchor, a style guide only: satin violet porcelain with visible sidewalls and rounded bevels, lilac linen, broad open embracing arcs, pale lavender surfaces, natural neutral daylight and adult emotional warmth. Fixed color targets #8A5AA5 violet, #4F2873 plum, #F5EEFA pale lavender, #C9A7E1 lilac, #251330 deepest plum. Exact native raster appearance may have material shading. Spacious art-directed editorial layout, legible useful text sizes, every required word unobscured. No invented parent logo, jewelry, offers, dates, percentages, URLs or extra copy. Generate all layout and lettering in imagegen itself. Board02: logo system. Create a large top half split into two balanced logo specimens: original approved flat violet/plum logo on pale lavender left, and lilac symbol with pale lavender wordmark and eyes on deepest plum right. Mother/baby inner spaces match their field in these demonstrations. Each complete lockup shows the word Weltstillwoche exactly once. Below, a generous isolated flat violet symbol without wordmark at left, and a clearly substantial satin violet porcelain 3D campaign lockup at right, with front faces, rounded bevels and visible sidewalls. Preserve silhouette and closed eyes across all instances. Each region has a single quiet caption. A small three-disc palette strip under title can be unlabeled. Total exact visible copy: number “02”; title “Logo-System”; section captions “Light”, “Dark”, “Symbol”, “3D”; word “Weltstillwoche” in three logo lockups only. No additional prose, measurements, fictitious vector grids or parent brand mark. The isolated symbol takes half the lower width; 3D lockup remains readable. This is a polished identity usage sheet, not four concept proposals.

03.txt

prompts/03.txt

TXT · 2,102 B

Pokaż treść
Create one complete native square 1:1 professional brandkit board for approved Weltstillwoche campaign. Reference1 is identity authority: preserve enclosing mother nursing infant silhouette, two negative-space face profiles, two crescent closed eyes and rounded wordmark. Reference2 is the edition visual anchor, a style guide only: satin violet porcelain with visible sidewalls and rounded bevels, lilac linen, broad open embracing arcs, pale lavender surfaces, natural neutral daylight and adult emotional warmth. Fixed color targets #8A5AA5 violet, #4F2873 plum, #F5EEFA pale lavender, #C9A7E1 lilac, #251330 deepest plum. Exact native raster appearance may have material shading. Spacious art-directed editorial layout, legible useful text sizes, every required word unobscured. No invented parent logo, jewelry, offers, dates, percentages, URLs or extra copy. Generate all layout and lettering in imagegen itself. Board03: color and typography. Beautiful editorial information board, flat crisp text, no photography. At top number “03” and title “Farbe & Typografie”. Five wide adjacent simple color swatches across upperthird with each exacthex label below: “#8A5AA5”, “#4F2873”, “#F5EEFA”, “#C9A7E1”, “#251330”, matching target colors in sameorder. The lowerleft is large flat rounded sans typographic specimen area: label “WEB”; font family line “Nunito Sans”; generous heading “Nähe, die bleibt.”; specimen one line “Aa Bb Cc · 123”. The lowerright is separate creative specimen area: label “CREATIVE”; substantial sculptural porcelain word “Nähe” with deep violet face and visible sides; smallcaption “Porzellan in 3D”. At bottom a narrow darkplum strip displays small approved complete logo centered with lilac symbol and pale wordmark “Weltstillwoche”. Use helpful breathing room between families, exact spellings including diaeresis and hex values. Treat font family as intended WEB implementation label, native typography need not claim exactfontmetrics. Do notadd weights, fillerparagraphs, labels or text beyond inventory.

04.txt

prompts/04.txt

TXT · 2,348 B

Pokaż treść
Create one complete native square 1:1 professional brandkit board for approved Weltstillwoche campaign. Reference1 is identity authority: preserve enclosing mother nursing infant silhouette, two negative-space face profiles, two crescent closed eyes and rounded wordmark. Reference2 is the edition visual anchor, a style guide only: satin violet porcelain with visible sidewalls and rounded bevels, lilac linen, broad open embracing arcs, pale lavender surfaces, natural neutral daylight and adult emotional warmth. Fixed color targets #8A5AA5 violet, #4F2873 plum, #F5EEFA pale lavender, #C9A7E1 lilac, #251330 deepest plum. Exact native raster appearance may have material shading. Spacious art-directed editorial layout, legible useful text sizes, every required word unobscured. No invented parent logo, jewelry, offers, dates, percentages, URLs or extra copy. Generate all layout and lettering in imagegen itself. Board04: photographic world. An elegant editorial photo direction board with three large genuinely different documentary moments and one narrow lilac textile strip. No jewelry or catalogue product is requested; this board establishes human light, gesture and material. One dominant upper-left candid side-lit photograph: adult mother adjusting her infant's soft knit sleeve beside a window, baby's hand touching mother's thumb, natural imperfect lived-in textures. Second right-hand taller close documentary frame: adult parent carrying an infant safely against their chest in a properly supported fabric wrap, one hand under baby, mouth and nose unobstructed, baby's head nearparentface, soft greenblurredoutdoors with neutral daylight and subtle lilac clothing. Third bottom-left macro of baby's tiny hand naturally grasping adult indexfinger against woven offwhite cotton, anatomically correct separatefingers. Inventnewsubjects, no copyingpeoplefromanchor. Realistic neutral skintones, spontaneous action, gentle depthoffield, no studio posing, filters or orange cast. Violet porcelain curved dividers frame but do not intrude into faces. Tiny complete campaign identity signature in a quiet header. Exact visible text only: “04”, “Bildwelt”, “Weltstillwoche” in logo, “Tageslicht”, “Nähe”, “Berührung”. Each threephoto has one ofthelastthreelabels. No products, claims, testimonials or other type.

05.txt

prompts/05.txt

TXT · 2,192 B

Pokaż treść
Create one complete native square 1:1 professional brandkit board for approved Weltstillwoche campaign. Reference1 is identity authority: preserve enclosing mother nursing infant silhouette, two negative-space face profiles, two crescent closed eyes and rounded wordmark. Reference2 is the edition visual anchor, a style guide only: satin violet porcelain with visible sidewalls and rounded bevels, lilac linen, broad open embracing arcs, pale lavender surfaces, natural neutral daylight and adult emotional warmth. Fixed color targets #8A5AA5 violet, #4F2873 plum, #F5EEFA pale lavender, #C9A7E1 lilac, #251330 deepest plum. Exact native raster appearance may have material shading. Spacious art-directed editorial layout, legible useful text sizes, every required word unobscured. No invented parent logo, jewelry, offers, dates, percentages, URLs or extra copy. Generate all layout and lettering in imagegen itself. Board05: expressive campaign typography and practical webcontrols. Large editorial square composition. Top title “Typo, Motive & UI” with number “05”. Upperleft hero oversized two-line sculptural satin violet porcelain message “Nähe,” then “die bleibt.”, substantially extruded rounded letters, distinct face and dark sidewall, coherent upperleft windowlight; one broad curved porcelain arc passes behind the letters without coveringanyglyph. Upperright a smallflatapprovedcompletecampaignlogo,wordmark“Weltstillwoche”. Lowerleft showcase only three clean flat WEB components on lavender surface: dark plum filled capsule button “Entdecken” with a simple rightarrowicon; light outlined capsule “Mehr erfahren”; two-state theme selector labels “Light” and “Dark” with Lightvisiblyselected. No actualdestinationclaimed, these are designexamples. Lower right a simplevioletline motif family: three open embracing curves, one heartoutline, nofaces, noextra lettering. Separating captions “CREATIVE” above dimensionaltype and “WEB” above controls. EnoughpaddingandconsistentsimpleUIshapes, intentionally keep functionalWEBlabels flat crisp. No charts, progress, counters, reviews or unrelatedwidgets. Exacttextonlyinventoryprovided.

06.txt

prompts/06.txt

TXT · 3,586 B

Pokaż treść
Design the social and paid campaign family board. Top right flat header “06” and “Soziale Medien”. Two generous campaign specimens: a large square feed creative on the left; a tall 9:16 portrait creative on the right. Label them beneath in large flat type “Quadrat” and “Hochformat”. They must clearly reflow, not stretch the same layout. Both contain one flat approved symbol/wordmark, one violet porcelain dimensional “Nähe, die bleibt.” and one clean rounded violet CTA “Entdecken”. Left square: typographic still life, oversized sculptural embracing arc crossing behind type, a close-up parent hand safely holding an infant's small hand in the lower corner. Right portrait: candid clothed mother cuddling infant, shown from the waist up against lilac linen. All portrait communication—logo, headline, CTA—must fit within the vertically centered square band of that portrait; top/bottom extensions may contain only photography or soft material atmosphere. Give that central text enough readable width. Avoid cropping any letters. Outer board background pale lavender; keep lower-left breathing room with two small text-free material specimens (linen and porcelain) that unite the family. No platform iconography, no UI statistics.

REFERENCE AUTHORITY: Image 1 is the approved campaign identity master. Image 2 is the visual-world and editorial-style anchor only. Preserve the supplied campaign logo 100% true to the original in every detail: a single embracing violet maternal silhouette enclosing two pale negative-space profiles, exactly two closed-eye crescents, mother above left and baby below right; symbol above the rounded literal wordmark Weltstillwoche. No mirroring, missing eye, altered anatomy, new letterform spelling or extra icon. The campaign logo remains flat. The expressive headline is a separate 3D object, never the wordmark.
LOCK: Warm adult modern and rounded sans-only. Satin violet porcelain 3D with substantial visible sidewalls, soft rounded bevels, plausible contact shadows, not metallic chrome. Pale lavender paper, lilac linen, broad open embracing arcs, neutral natural daylight skin, intimate candid parent–infant photography. Color targets violet #8A5AA5, plum #4F2873, pale lavender #F5EEFA, lilac #C9A7E1, deepest plum #251330. Large editorial breathing room. Exact headline “Nähe, die bleibt.” including two dots of ä, comma, final period. Flat utility typography resembles Nunito Sans; no claim of exact generated font reproduction.
Create one complete native square 1:1 brandbook image, all of its imagery, layout, lettering and UI generated together. Straight-on editorial board, no photographed whole paper sheet, no external overlays, no watermarks. Actual photos look documentary and physically plausible, subtle pores, gentle daylight, fully clothed parent and infant with natural hands. No jewelry or invented products. No dates, discounts, prices, gifts, percentage signs, live destinations, URLs, brand claims, testimonials, fake metrics or incidental text. No fabricated MILKIES/DIY logo; where those branch names are allowed, use plain utility text as labels only. Never use the original anchor headline as a mere pasted image: compose a new whole board for its specific role. Keep every letter face clearly visible and every text line wide enough. Only print the exact copy inventory for this board; no spontaneous microtext.

EXACT COPY INVENTORY (repetitions only as explicitly described): "06", "Soziale Medien", "Weltstillwoche", "Nähe, die bleibt.", "Entdecken", "Quadrat", "Hochformat".

07.txt

prompts/07.txt

TXT · 4,565 B

Pokaż treść
Create a COMPLETE native square 1:1 professional brandbook board about a website banner system. TWO rows of specimens, each with one landscape and one SQUARE. This is a new whole-board rendering with exact shape discipline.
The canvas is square; target 1254 x 1254 or corresponding native square size. Use these RELATIVE panel boxes, scaled with canvas: desktop upper [left 0.04, top 0.245, width 0.53, height 0.298125]; mobile upper [left 0.64, top 0.245, width 0.298125, height 0.298125]. Desktop lower [left 0.04, top 0.665, width 0.53, height 0.298125]; mobile lower [left 0.64, top 0.665, width 0.298125, height 0.298125]. This creates truly 16:9 wide specimens and truly square mobile specimens of equal HEIGHT. Preserve their shape boundaries, without extending them vertically. Do not reproduce tall smartphone rectangles. No device frames. Simple axis-aligned artwork rectangles.
Outside specimens: header top-left is approved flat campaign logo+wordmark, top-right “07” over “Website”. Upper row label “MILKIES” (plain text) at y.17, lower row label “DIY by MILKIES” (plain text) at y.59. Column labels “Desktop” over wide panels and “Mobil” over square panels. Each banner contains an exact FLAT “Weltstillwoche” near its upper left, and separate violet porcelain 3D “Nähe, die bleibt.”. No need to repeat maternal symbol within small specimens; the outer header carries it clearly. Each banner MUST contain the campaign wordmark. No CTA, NO Entdecken, no button shapes whatsoever in the website banners.
Upper branch images: mother snuggling sleeping infant; lower branch images: adult hands gently folding lilac linen beside cream infant cardigan, no kits, tools, jewelry or packaging. In wide panels headlines and wordmark occupy left, photography right. In square panels wordmark top, headline central, photo lower/right. Typography must be kept readable by concise copy, not compressed lettering. Preserve the square mobile panel boundaries even if less photo is visible. All photos and text live within their own rectangular specimen boundaries.
REFERENCE AUTHORITY: Image 1 is the approved campaign identity master. Image 2 is the visual-world and editorial-style anchor only. Preserve the supplied campaign logo 100% true to the original in every detail: a single embracing violet maternal silhouette enclosing two pale negative-space profiles, exactly two closed-eye crescents, mother above left and baby below right; symbol above the rounded literal wordmark Weltstillwoche. No mirroring, missing eye, altered anatomy, new letterform spelling or extra icon. The campaign logo remains flat. The expressive headline is a separate 3D object, never the wordmark.
LOCK: Warm adult modern and rounded sans-only. Satin violet porcelain 3D with substantial visible sidewalls, soft rounded bevels, plausible contact shadows, not metallic chrome. Pale lavender paper, lilac linen, broad open embracing arcs, neutral natural daylight skin, intimate candid parent–infant photography. Color targets violet #8A5AA5, plum #4F2873, pale lavender #F5EEFA, lilac #C9A7E1, deepest plum #251330. Large editorial breathing room. Exact headline “Nähe, die bleibt.” including two dots of ä, comma, final period. Flat utility typography resembles Nunito Sans; no claim of exact generated font reproduction.
Create one complete native square 1:1 brandbook image, all of its imagery, layout, lettering and UI generated together. Straight-on editorial board, no photographed whole paper sheet, no external overlays, no watermarks. Actual photos look documentary and physically plausible, subtle pores, gentle daylight, fully clothed parent and infant with natural hands. No jewelry or invented products. No dates, discounts, prices, gifts, percentage signs, live destinations, URLs, brand claims, testimonials, fake metrics or incidental text. No fabricated MILKIES/DIY logo; where those branch names are allowed, use plain utility text as labels only. Never use the original anchor headline as a mere pasted image: compose a new whole board for its specific role. Keep every letter face clearly visible and every text line wide enough. Only print the exact copy inventory for this board; no spontaneous microtext.
Exact visible strings only: “07”, “Website”, “Weltstillwoche” (five occurrences, header plus four specimens), “MILKIES”, “DIY by MILKIES”, “Desktop” (two), “Mobil” (two), “Nähe, die bleibt.” (four). No numbers representing proportions printed. All text fully legible and uncropped.

08.txt

prompts/08.txt

TXT · 3,681 B

Pokaż treść
Create the newsletter module system as one very readable editorial board. Outer top right flat header “08” and “Newsletter”. Display one dominant front-on newsletter specimen on pale lavender with generous inset margins, about 80 percent of the board width; do not surround it with unreadable thumbnails. At its top show the flat approved campaign symbol and wordmark “Weltstillwoche”. Then a large hero module: candid clothed mother snuggling a sleeping infant on the right, broad violet porcelain embrace arc and “Nähe, die bleibt.” in substantial rounded purple 3D on the left; bright neutral skin against the purple world. Under the hero, a separate ivory/lavender live-text-intent module uses flat utility type, large exact heading “Ein Moment für uns.” and large body sentence “Kleine Momente. Große Nähe.” Put a single pill button “Entdecken” beneath. Add a separate text-free editorial story module at the very bottom showing lilac linen and parent's hand on baby's clothed back, a calm crop rather than another repeated hero. Strong clear modular boundaries, true readable flat body copy, useful whitespace. Show creative image versus live-text anatomy through layout without printing technical jargon. No inbox chrome, addresses, subscription/legal footer inventions or tiny filler text.

REFERENCE AUTHORITY: Image 1 is the approved campaign identity master. Image 2 is the visual-world and editorial-style anchor only. Preserve the supplied campaign logo 100% true to the original in every detail: a single embracing violet maternal silhouette enclosing two pale negative-space profiles, exactly two closed-eye crescents, mother above left and baby below right; symbol above the rounded literal wordmark Weltstillwoche. No mirroring, missing eye, altered anatomy, new letterform spelling or extra icon. The campaign logo remains flat. The expressive headline is a separate 3D object, never the wordmark.
LOCK: Warm adult modern and rounded sans-only. Satin violet porcelain 3D with substantial visible sidewalls, soft rounded bevels, plausible contact shadows, not metallic chrome. Pale lavender paper, lilac linen, broad open embracing arcs, neutral natural daylight skin, intimate candid parent–infant photography. Color targets violet #8A5AA5, plum #4F2873, pale lavender #F5EEFA, lilac #C9A7E1, deepest plum #251330. Large editorial breathing room. Exact headline “Nähe, die bleibt.” including two dots of ä, comma, final period. Flat utility typography resembles Nunito Sans; no claim of exact generated font reproduction.
Create one complete native square 1:1 brandbook image, all of its imagery, layout, lettering and UI generated together. Straight-on editorial board, no photographed whole paper sheet, no external overlays, no watermarks. Actual photos look documentary and physically plausible, subtle pores, gentle daylight, fully clothed parent and infant with natural hands. No jewelry or invented products. No dates, discounts, prices, gifts, percentage signs, live destinations, URLs, brand claims, testimonials, fake metrics or incidental text. No fabricated MILKIES/DIY logo; where those branch names are allowed, use plain utility text as labels only. Never use the original anchor headline as a mere pasted image: compose a new whole board for its specific role. Keep every letter face clearly visible and every text line wide enough. Only print the exact copy inventory for this board; no spontaneous microtext.

EXACT COPY INVENTORY (repetitions only as explicitly described): "08", "Newsletter", "Weltstillwoche", "Nähe, die bleibt.", "Ein Moment für uns.", "Kleine Momente. Große Nähe.", "Entdecken".

09.txt

prompts/09.txt

TXT · 3,611 B

Pokaż treść
Design a light-use front/back print insert system. Outer board header top right “09” and “Print”; quiet pale lavender outer background. Two large separate front-on insert card specimens arranged side by side with a slight vertical stagger, no perspective rotation, never overlapping the lettering. Labels underneath are “Vorderseite” and “Rückseite”. The front card uses spacious pale lavender paper, the approved flat violet symbol and “Weltstillwoche” at top, a large portrait-format composition with “Nähe, die bleibt.” as beautiful purple satin-porcelain 3D artwork, a cropped text-free lilac linen motif along bottom. The back card is warm nearly-white paper, carries a single small but legible flat approved symbol and wordmark “Weltstillwoche”, then the flat large utility heading “Ein Moment für uns.”, and an intimate text-free parent–infant photo at bottom. Clear broad paper margins and calm light backgrounds suited to economical print. No contact information, address, QR code, URL, barcode, trim marks, print measurements, fake legal wording or discount. Depict useful front/back identity concepts, not a stationery assortment. All cards have realistic but subtle paper edge/shadow without turning into photographed sheet mockups.

REFERENCE AUTHORITY: Image 1 is the approved campaign identity master. Image 2 is the visual-world and editorial-style anchor only. Preserve the supplied campaign logo 100% true to the original in every detail: a single embracing violet maternal silhouette enclosing two pale negative-space profiles, exactly two closed-eye crescents, mother above left and baby below right; symbol above the rounded literal wordmark Weltstillwoche. No mirroring, missing eye, altered anatomy, new letterform spelling or extra icon. The campaign logo remains flat. The expressive headline is a separate 3D object, never the wordmark.
LOCK: Warm adult modern and rounded sans-only. Satin violet porcelain 3D with substantial visible sidewalls, soft rounded bevels, plausible contact shadows, not metallic chrome. Pale lavender paper, lilac linen, broad open embracing arcs, neutral natural daylight skin, intimate candid parent–infant photography. Color targets violet #8A5AA5, plum #4F2873, pale lavender #F5EEFA, lilac #C9A7E1, deepest plum #251330. Large editorial breathing room. Exact headline “Nähe, die bleibt.” including two dots of ä, comma, final period. Flat utility typography resembles Nunito Sans; no claim of exact generated font reproduction.
Create one complete native square 1:1 brandbook image, all of its imagery, layout, lettering and UI generated together. Straight-on editorial board, no photographed whole paper sheet, no external overlays, no watermarks. Actual photos look documentary and physically plausible, subtle pores, gentle daylight, fully clothed parent and infant with natural hands. No jewelry or invented products. No dates, discounts, prices, gifts, percentage signs, live destinations, URLs, brand claims, testimonials, fake metrics or incidental text. No fabricated MILKIES/DIY logo; where those branch names are allowed, use plain utility text as labels only. Never use the original anchor headline as a mere pasted image: compose a new whole board for its specific role. Keep every letter face clearly visible and every text line wide enough. Only print the exact copy inventory for this board; no spontaneous microtext.

EXACT COPY INVENTORY (repetitions only as explicitly described): "09", "Print", "Weltstillwoche", "Nähe, die bleibt.", "Vorderseite", "Rückseite", "Ein Moment für uns.".

10.txt

prompts/10.txt

TXT · 3,644 B

Pokaż treść
Create the concluding reusable toolkit consistency board with five generous designed specimen areas. Outer header top right “10” and “Werkzeugkasten”. An elegant asymmetric modular composition on pale lavender: (1) “Logo”: one very clear approved flat purple maternal symbol plus literal “Weltstillwoche” with abundant breathing room. (2) “Typografie”: a large separate satin violet porcelain 3D “Nähe, die bleibt.” with substantial sidewalls. (3) “Material”: two tactile close-up specimens, lilac linen and glazed violet porcelain, labelled “Leinen” and “Porzellan”. (4) “Motiv”: a repeatable family of broad open embracing arcs only, never repeated logo silhouettes, in flat lilac and plum plus one restrained sculptural arc. (5) “Oberfläche”: paired light-lavender and deep-plum rounded panel specimens sharing identical generous radius and spacing, each with one flat readable button labelled “Entdecken”. Keep the complete system visibly related to the anchor's atmosphere and object surfaces; practical collection of motifs, surfaces and type, no checkmark checklist, no fake metrics, no color hex microtext, no extra claims. All label sizes large and crisp; do not squeeze a technical manual onto the board.

REFERENCE AUTHORITY: Image 1 is the approved campaign identity master. Image 2 is the visual-world and editorial-style anchor only. Preserve the supplied campaign logo 100% true to the original in every detail: a single embracing violet maternal silhouette enclosing two pale negative-space profiles, exactly two closed-eye crescents, mother above left and baby below right; symbol above the rounded literal wordmark Weltstillwoche. No mirroring, missing eye, altered anatomy, new letterform spelling or extra icon. The campaign logo remains flat. The expressive headline is a separate 3D object, never the wordmark.
LOCK: Warm adult modern and rounded sans-only. Satin violet porcelain 3D with substantial visible sidewalls, soft rounded bevels, plausible contact shadows, not metallic chrome. Pale lavender paper, lilac linen, broad open embracing arcs, neutral natural daylight skin, intimate candid parent–infant photography. Color targets violet #8A5AA5, plum #4F2873, pale lavender #F5EEFA, lilac #C9A7E1, deepest plum #251330. Large editorial breathing room. Exact headline “Nähe, die bleibt.” including two dots of ä, comma, final period. Flat utility typography resembles Nunito Sans; no claim of exact generated font reproduction.
Create one complete native square 1:1 brandbook image, all of its imagery, layout, lettering and UI generated together. Straight-on editorial board, no photographed whole paper sheet, no external overlays, no watermarks. Actual photos look documentary and physically plausible, subtle pores, gentle daylight, fully clothed parent and infant with natural hands. No jewelry or invented products. No dates, discounts, prices, gifts, percentage signs, live destinations, URLs, brand claims, testimonials, fake metrics or incidental text. No fabricated MILKIES/DIY logo; where those branch names are allowed, use plain utility text as labels only. Never use the original anchor headline as a mere pasted image: compose a new whole board for its specific role. Keep every letter face clearly visible and every text line wide enough. Only print the exact copy inventory for this board; no spontaneous microtext.

EXACT COPY INVENTORY (repetitions only as explicitly described): "10", "Werkzeugkasten", "Weltstillwoche", "Logo", "Typografie", "Nähe, die bleibt.", "Material", "Leinen", "Porzellan", "Motiv", "Oberfläche", "Entdecken".

asset-alpha-inventory.json

qa/asset-alpha-inventory.json

JSON · 19,476 B

Pokaż treść
{
  "schema_version": 1,
  "expected_native_logo_count": 33,
  "observed_native_logo_count": 33,
  "expected_web_alias_count": 22,
  "observed_web_alias_count": 22,
  "missing": [],
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    },
    {
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      "transparent_pixel_fraction": 0.7638071727092125,
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    },
    {
      "path": "assets/logos/be-fr/full-3d.png",
      "sha256": "633109cc252e5206665c54e8d546c8b39ec0acc5d53413efb1d9613f0647d14e",
      "width": 1254,
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      "mode": "RGBA",
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      "transparent_pixel_fraction": 0.6698710855724203,
      "nontransparent_pixel_fraction": 0.33012891442757974,
      "real_alpha": true
    },
    {
      "path": "assets/logos/uk/light.png",
      "sha256": "b56e087b49ffce2a1a80b32a87327295e5b0fbd23e4cc5fe2fdce1f38b3f1223",
      "width": 1254,
      "height": 1254,
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      "transparent_pixel_fraction": 0.7771221405696349,
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    },
    {
      "path": "assets/logos/uk/dark.png",
      "sha256": "566e15c81973c1f969e4102ff4f0fa6d8321d9af709f2fcb4cd72346110df130",
      "width": 1254,
      "height": 1254,
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      "transparent_pixel_fraction": 0.7718592370443289,
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    {
      "path": "assets/logos/uk/full-3d.png",
      "sha256": "620946ec8de658e4f13b420523f589415e3f8c590dd53f10bbfa485b02d2c6ec",
      "width": 1254,
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boards-01-05-generation.json

qa/boards-01-05-generation.json

JSON · 5,669 B

Pokaż treść
{
  "schema_version": 1,
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boards-01-05-lettering.json

qa/boards-01-05-lettering.json

JSON · 22,724 B

Pokaż treść
{
  "schema_version": 1,
  "scope": "foundation_boards",
  "campaign_name": "Weltstillwoche",
  "status": "pass",
  "partial_review": true,
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    "04",
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  "coverage_note": "Independent actual visual review of boards 01–05 only. Merge with the independent 06–10 records before running the ten-board foundation validator; this five-record file alone does not establish the complete foundation gate.",
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      "path": "boards/01-campaign-world.png",
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        "Natural neutral skin and close parent–infant gesture establish the image direction. No product or offer is depicted."
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        "two_closed_eye_accents_per_symbol": true,
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        "exact_pixel_geometry_claim": false
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          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
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          ],
          "expected": "Kampagnenwelt",
          "observed": "Kampagnenwelt",
          "visual_checked": true,
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          "status": "pass"
        },
        {
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          "observed": "Weltstillwoche",
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          "expected": "Nähe, die bleibt.",
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    },
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      "path": "boards/02-logo-system.png",
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      "declared_visible_text_count": 9,
      "observations": [
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        "Three visible wordmarks spell Weltstillwoche. 3D is a rendered raster material treatment."
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      "identity": {
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        "two_face_profiles_per_symbol": true,
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          "observed": "Weltstillwoche",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "02-light-label",
          "kind": "label",
          "box": [
            0.217703,
            0.511164,
            0.067783,
            0.032695
          ],
          "expected": "Light",
          "observed": "Light",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "02-dark-name",
          "kind": "campaign_name",
          "box": [
            0.548644,
            0.437002,
            0.409091,
            0.066986
          ],
          "expected": "Weltstillwoche",
          "observed": "Weltstillwoche",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "02-dark-label",
          "kind": "label",
          "box": [
            0.720096,
            0.509569,
            0.059809,
            0.031898
          ],
          "expected": "Dark",
          "observed": "Dark",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "02-symbol-label",
          "kind": "label",
          "box": [
            0.204147,
            0.931419,
            0.088517,
            0.031898
          ],
          "expected": "Symbol",
          "observed": "Symbol",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "02-3d-name",
          "kind": "campaign_name",
          "box": [
            0.438596,
            0.832536,
            0.523923,
            0.095694
          ],
          "expected": "Weltstillwoche",
          "observed": "Weltstillwoche",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "02-3d-label",
          "kind": "label",
          "box": [
            0.6874,
            0.931419,
            0.04067,
            0.031898
          ],
          "expected": "3D",
          "observed": "3D",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        }
      ],
      "sha256": "e280d3a7be2a2c06d11fc219cfb56bcee69e06c759803204b237c283169d8664"
    },
    {
      "id": "03",
      "path": "boards/03-palette-type.png",
      "reviewer": "toolkit_assets independent visual QA",
      "full_size_viewed": true,
      "enlarged_text_viewed": true,
      "occurrence_inventory_complete": true,
      "declared_visible_text_count": 15,
      "observations": [
        "Five hexadecimal strings match the color targets. Swatches are shaded material renders and cannot establish exact pixel token colors.",
        "WEB font-family label specifies an implementation choice, not proof that generated glyph outlines are Nunito Sans.",
        "Bottom signature retains two face profiles and two eye accents; all lettering legible."
      ],
      "identity": {
        "symbol_occurrences_checked": 1,
        "two_face_profiles_per_symbol": true,
        "two_closed_eye_accents_per_symbol": true,
        "topology_status": "pass",
        "exact_pixel_geometry_claim": false
      },
      "occurrences": [
        {
          "id": "03-number",
          "kind": "label",
          "box": [
            0.036683,
            0.04386,
            0.072568,
            0.053429
          ],
          "expected": "03",
          "observed": "03",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "03-title",
          "kind": "label",
          "box": [
            0.033493,
            0.10925,
            0.685805,
            0.085327
          ],
          "expected": "Farbe & Typografie",
          "observed": "Farbe & Typografie",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "03-violet-hex",
          "kind": "utility",
          "box": [
            0.062998,
            0.406699,
            0.132376,
            0.033493
          ],
          "expected": "#8A5AA5",
          "observed": "#8A5AA5",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "03-plum-hex",
          "kind": "utility",
          "box": [
            0.252791,
            0.406699,
            0.125997,
            0.033493
          ],
          "expected": "#4F2873",
          "observed": "#4F2873",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "03-pale-hex",
          "kind": "utility",
          "box": [
            0.439394,
            0.406699,
            0.124402,
            0.033493
          ],
          "expected": "#F5EEFA",
          "observed": "#F5EEFA",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "03-lilac-hex",
          "kind": "utility",
          "box": [
            0.623604,
            0.406699,
            0.131579,
            0.033493
          ],
          "expected": "#C9A7E1",
          "observed": "#C9A7E1",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "03-dark-hex",
          "kind": "utility",
          "box": [
            0.813397,
            0.406699,
            0.125199,
            0.033493
          ],
          "expected": "#251330",
          "observed": "#251330",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "03-web-label",
          "kind": "label",
          "box": [
            0.038278,
            0.486443,
            0.066188,
            0.032695
          ],
          "expected": "WEB",
          "observed": "WEB",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "03-web-family",
          "kind": "label",
          "box": [
            0.035885,
            0.527113,
            0.248006,
            0.047049
          ],
          "expected": "Nunito Sans",
          "observed": "Nunito Sans",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "03-web-headline",
          "kind": "headline",
          "box": [
            0.03429,
            0.586124,
            0.408293,
            0.181021
          ],
          "expected": "Nähe, die bleibt.",
          "observed": "Nähe, die bleibt.",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "03-specimen",
          "kind": "utility",
          "box": [
            0.039075,
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            0.339713,
            0.053429
          ],
          "expected": "Aa Bb Cc · 123",
          "observed": "Aa Bb Cc · 123",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "03-creative-label",
          "kind": "label",
          "box": [
            0.478469,
            0.486443,
            0.130781,
            0.032695
          ],
          "expected": "CREATIVE",
          "observed": "CREATIVE",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "03-creative-headline",
          "kind": "headline",
          "box": [
            0.478469,
            0.556619,
            0.496013,
            0.233652
          ],
          "expected": "Nähe",
          "observed": "Nähe",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "03-creative-material",
          "kind": "label",
          "box": [
            0.482456,
            0.788676,
            0.203349,
            0.038278
          ],
          "expected": "Porzellan in 3D",
          "observed": "Porzellan in 3D",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "03-signature",
          "kind": "campaign_name",
          "box": [
            0.408293,
            0.901914,
            0.304625,
            0.051037
          ],
          "expected": "Weltstillwoche",
          "observed": "Weltstillwoche",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        }
      ],
      "sha256": "641bf72a94829428c58328f7d27d55c73f836b48548b0849140926911fea7bec"
    },
    {
      "id": "04",
      "path": "boards/04-photography.png",
      "reviewer": "toolkit_assets independent visual QA",
      "full_size_viewed": true,
      "enlarged_text_viewed": true,
      "occurrence_inventory_complete": true,
      "declared_visible_text_count": 6,
      "observations": [
        "All three German photo labels have correct spelling and umlauts. Signature has two closed-eye accents.",
        "Three illustrative photographs show daylight, close holding and an infant hand around an adult finger. Visible infant mouth and nose are unobstructed. This is photo direction, not a certified babywearing instruction or real customer documentation."
      ],
      "identity": {
        "symbol_occurrences_checked": 1,
        "two_face_profiles_per_symbol": true,
        "two_closed_eye_accents_per_symbol": true,
        "topology_status": "pass",
        "exact_pixel_geometry_claim": false
      },
      "occurrences": [
        {
          "id": "04-number",
          "kind": "label",
          "box": [
            0.842903,
            0.04386,
            0.04386,
            0.0311
          ],
          "expected": "04",
          "observed": "04",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "04-title",
          "kind": "label",
          "box": [
            0.842903,
            0.075758,
            0.110845,
            0.035885
          ],
          "expected": "Bildwelt",
          "observed": "Bildwelt",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "04-signature",
          "kind": "campaign_name",
          "box": [
            0.692982,
            0.130781,
            0.168262,
            0.031898
          ],
          "expected": "Weltstillwoche",
          "observed": "Weltstillwoche",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "04-daylight-label",
          "kind": "label",
          "box": [
            0.046252,
            0.46571,
            0.188198,
            0.045455
          ],
          "expected": "Tageslicht",
          "observed": "Tageslicht",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "04-closeness-label",
          "kind": "label",
          "box": [
            0.854067,
            0.778309,
            0.101276,
            0.038278
          ],
          "expected": "Nähe",
          "observed": "Nähe",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "04-touch-label",
          "kind": "label",
          "box": [
            0.047049,
            0.886762,
            0.1874,
            0.04386
          ],
          "expected": "Berührung",
          "observed": "Berührung",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        }
      ],
      "sha256": "62e23719bd67a38a1684772b41be41a71c0b4f291f03228529f857d5efe502ad"
    },
    {
      "id": "05",
      "path": "boards/05-type-ui-motifs.png",
      "reviewer": "toolkit_assets independent visual QA",
      "full_size_viewed": true,
      "enlarged_text_viewed": true,
      "occurrence_inventory_complete": true,
      "declared_visible_text_count": 10,
      "observations": [
        "Headline and all UI labels correct and unobscured; decorative arrow is an icon, not an additional text string.",
        "Both eyes remain visible in the signature. Three open curves and one heart outline are deliberate motif examples.",
        "WEB controls are illustrative material-lit pills with shadows, although labels are flat and crisp. Documentation must specify actual flat semantic WEB controls and not claim this image is functional UI."
      ],
      "identity": {
        "symbol_occurrences_checked": 1,
        "two_face_profiles_per_symbol": true,
        "two_closed_eye_accents_per_symbol": true,
        "topology_status": "pass",
        "exact_pixel_geometry_claim": false
      },
      "occurrences": [
        {
          "id": "05-number",
          "kind": "label",
          "box": [
            0.043062,
            0.042265,
            0.059011,
            0.04067
          ],
          "expected": "05",
          "observed": "05",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "05-title",
          "kind": "label",
          "box": [
            0.036683,
            0.082137,
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            0.070175
          ],
          "expected": "Typo, Motive & UI",
          "observed": "Typo, Motive & UI",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "05-creative-label",
          "kind": "label",
          "box": [
            0.042265,
            0.1874,
            0.132376,
            0.028708
          ],
          "expected": "CREATIVE",
          "observed": "CREATIVE",
          "visual_checked": true,
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          "status": "pass"
        },
        {
          "id": "05-signature",
          "kind": "campaign_name",
          "box": [
            0.757576,
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          ],
          "expected": "Weltstillwoche",
          "observed": "Weltstillwoche",
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          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "05-hero",
          "kind": "headline",
          "box": [
            0.031898,
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            0.728868,
            0.354067
          ],
          "expected": "Nähe, die bleibt.",
          "observed": "Nähe, die bleibt.",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "05-web-label",
          "kind": "label",
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          "expected": "WEB",
          "observed": "WEB",
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          "status": "pass"
        },
        {
          "id": "05-primary-button",
          "kind": "utility",
          "box": [
            0.106061,
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            0.169856,
            0.039075
          ],
          "expected": "Entdecken",
          "observed": "Entdecken",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "05-secondary-button",
          "kind": "utility",
          "box": [
            0.118022,
            0.825359,
            0.208134,
            0.035088
          ],
          "expected": "Mehr erfahren",
          "observed": "Mehr erfahren",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "05-theme-light",
          "kind": "utility",
          "box": [
            0.148325,
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            0.065391,
            0.03748
          ],
          "expected": "Light",
          "observed": "Light",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "05-theme-dark",
          "kind": "utility",
          "box": [
            0.314195,
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          ],
          "expected": "Dark",
          "observed": "Dark",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        }
      ],
      "sha256": "6d2a1826432ca79a0bd3cc7740eda406c32562b7b4502d19ef453a12a3324d2c"
    }
  ]
}

boards-06-10-generation.json

qa/boards-06-10-generation.json

JSON · 9,774 B

Pokaż treść
{
  "schema_version": 1,
  "scope": "current selected board outputs",
  "records": [
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      "prompt_sha256": "ab5b09b078fbfc185d3da9bb0898ae721c507da01da32772b4a5a6d233ac2d4d",
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          "sha256": "75d44618488955f588cd608383279656efb465db32426c31ede9e52032660126",
          "role": "approved campaign identity master"
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          "role": "visual anchor, style only"
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      "model": "not exposed by runtime",
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          "role": "visual anchor, style only"
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      "native_output_sha256": "e9560b1294e78341476037004c7292d288cb2921ce712270187d4b805ebd46bb",
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      "board_bytes_edited": false,
      "path": "boards/07-web.png",
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      "sha256": "e9560b1294e78341476037004c7292d288cb2921ce712270187d4b805ebd46bb",
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      ],
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          "sha256": "75d44618488955f588cd608383279656efb465db32426c31ede9e52032660126",
          "role": "approved campaign identity master"
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        {
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          "role": "visual anchor, style only"
        }
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      "transparent_background": false,
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      "board_bytes_edited": false,
      "path": "boards/08-newsletter.png",
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    {
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      "attempt": 1,
      "selected_final": true,
      "native": true,
      "native_tool": "image_gen__imagegen",
      "model": "not exposed by runtime",
      "tool_outcome": "success",
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      "board_bytes_edited": false,
      "path": "boards/10-toolkit.png",
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  "omitted_attempt_summary": [
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      "attempt": 1,
      "native_output_sha256": "1306f0c24eeb668c3941e64d9add649648e4f2edb8722d26e0dc0585a916fa37",
      "rejection_reason": "Website banners contained CTA chips and lacked campaign wordmark within each specimen."
    },
    {
      "board_id": "07",
      "attempt": 2,
      "native_output_sha256": "bdb7f3a0e8c5dc1572cd6ce172ecde83abeafee050ccd79aeb97c27322eb94ff",
      "rejection_reason": "CTA and campaign-name anatomy corrected; specimen proportions remained too tall."
    }
  ],
  "history_note": "Unselected output bytes and full working history remain outside this release."
}

boards-06-10-lettering.json

qa/boards-06-10-lettering.json

JSON · 23,278 B

Pokaż treść
{
  "schema_version": 1,
  "scope": "foundation_boards",
  "campaign_name": "Weltstillwoche",
  "status": "pass",
  "fragment": true,
  "covered_board_ids": [
    "06",
    "07",
    "08",
    "09",
    "10"
  ],
  "notes": "Five-board visual lettering report fragment, intended for merging with 01–05 before full ten-board validator. Actual full-size pixels plus 2x inspection regions viewed. This record proves no production font equivalence or pixel-exact logo geometry. Parent names on 07 are plain branch labels, not source wordmarks.",
  "boards": [
    {
      "id": "06",
      "path": "boards/06-social.png",
      "sha256": "ef45272dca1f5893d02538d39684ec55c0b0f046b2f234ce5aba4eb1572b3f5c",
      "reviewer": "/root/personal_context/parent_refs",
      "full_size_viewed": true,
      "enlarged_text_viewed": true,
      "occurrence_inventory_complete": true,
      "declared_visible_text_count": 10,
      "occurrences": [
        {
          "id": "number",
          "kind": "label",
          "box": [
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            0.029506,
            0.03429,
            0.030303
          ],
          "expected": "06",
          "observed": "06",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "section",
          "kind": "label",
          "box": [
            0.783094,
            0.065391,
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            0.031898
          ],
          "expected": "Soziale Medien",
          "observed": "Soziale Medien",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "left-campaign",
          "kind": "campaign_name",
          "box": [
            0.061404,
            0.247209,
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            0.029506
          ],
          "expected": "Weltstillwoche",
          "observed": "Weltstillwoche",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "left-headline",
          "kind": "headline",
          "box": [
            0.044657,
            0.283094,
            0.476874,
            0.223285
          ],
          "expected": "Nähe, die bleibt.",
          "observed": "Nähe, die bleibt.",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "left-cta",
          "kind": "utility",
          "box": [
            0.086922,
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            0.163477,
            0.033493
          ],
          "expected": "Entdecken",
          "observed": "Entdecken",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "right-campaign",
          "kind": "campaign_name",
          "box": [
            0.624402,
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          ],
          "expected": "Weltstillwoche",
          "observed": "Weltstillwoche",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "right-headline",
          "kind": "headline",
          "box": [
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          ],
          "expected": "Nähe, die bleibt.",
          "observed": "Nähe, die bleibt.",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "right-cta",
          "kind": "utility",
          "box": [
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            0.029506
          ],
          "expected": "Entdecken",
          "observed": "Entdecken",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "square-label",
          "kind": "label",
          "box": [
            0.018341,
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            0.213716,
            0.057416
          ],
          "expected": "Quadrat",
          "observed": "Quadrat",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "portrait-label",
          "kind": "label",
          "box": [
            0.580542,
            0.907496,
            0.291866,
            0.057416
          ],
          "expected": "Hochformat",
          "observed": "Hochformat",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        }
      ]
    },
    {
      "id": "07",
      "path": "boards/07-web.png",
      "sha256": "e9560b1294e78341476037004c7292d288cb2921ce712270187d4b805ebd46bb",
      "reviewer": "/root/personal_context/parent_refs",
      "full_size_viewed": true,
      "enlarged_text_viewed": true,
      "occurrence_inventory_complete": true,
      "declared_visible_text_count": 17,
      "occurrences": [
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          "box": [
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          "expected": "07",
          "observed": "07",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "section",
          "kind": "label",
          "box": [
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            0.11563,
            0.033493
          ],
          "expected": "Website",
          "observed": "Website",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "header-campaign",
          "kind": "campaign_name",
          "box": [
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            0.030303
          ],
          "expected": "Weltstillwoche",
          "observed": "Weltstillwoche",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "milkies-label",
          "kind": "parent_wordmark",
          "box": [
            0.03429,
            0.174641,
            0.103668,
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          ],
          "expected": "MILKIES",
          "observed": "MILKIES",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "milkies-desktop-label",
          "kind": "label",
          "box": [
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            0.206539,
            0.086124,
            0.023126
          ],
          "expected": "Desktop",
          "observed": "Desktop",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "milkies-mobile-label",
          "kind": "label",
          "box": [
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            0.058214,
            0.023923
          ],
          "expected": "Mobil",
          "observed": "Mobil",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "milkies-desktop-campaign",
          "kind": "campaign_name",
          "box": [
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            0.329346,
            0.152313,
            0.027911
          ],
          "expected": "Weltstillwoche",
          "observed": "Weltstillwoche",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "milkies-desktop-headline",
          "kind": "headline",
          "box": [
            0.043062,
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            0.314992,
            0.157097
          ],
          "expected": "Nähe, die bleibt.",
          "observed": "Nähe, die bleibt.",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "milkies-mobile-campaign",
          "kind": "campaign_name",
          "box": [
            0.766348,
            0.251196,
            0.147528,
            0.030303
          ],
          "expected": "Weltstillwoche",
          "observed": "Weltstillwoche",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "milkies-mobile-headline",
          "kind": "headline",
          "box": [
            0.664274,
            0.301435,
            0.292663,
            0.136364
          ],
          "expected": "Nähe, die bleibt.",
          "observed": "Nähe, die bleibt.",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "diy-label",
          "kind": "parent_wordmark",
          "box": [
            0.03429,
            0.577352,
            0.192185,
            0.032695
          ],
          "expected": "DIY by MILKIES",
          "observed": "DIY by MILKIES",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "diy-desktop-label",
          "kind": "label",
          "box": [
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            0.086124,
            0.024721
          ],
          "expected": "Desktop",
          "observed": "Desktop",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "diy-mobile-label",
          "kind": "label",
          "box": [
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            0.607656,
            0.055024,
            0.025518
          ],
          "expected": "Mobil",
          "observed": "Mobil",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "diy-desktop-campaign",
          "kind": "campaign_name",
          "box": [
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          ],
          "expected": "Weltstillwoche",
          "observed": "Weltstillwoche",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "diy-desktop-headline",
          "kind": "headline",
          "box": [
            0.041467,
            0.770335,
            0.318182,
            0.149123
          ],
          "expected": "Nähe, die bleibt.",
          "observed": "Nähe, die bleibt.",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "diy-mobile-campaign",
          "kind": "campaign_name",
          "box": [
            0.767145,
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            0.14992,
            0.030303
          ],
          "expected": "Weltstillwoche",
          "observed": "Weltstillwoche",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "diy-mobile-headline",
          "kind": "headline",
          "box": [
            0.663477,
            0.704147,
            0.294258,
            0.137161
          ],
          "expected": "Nähe, die bleibt.",
          "observed": "Nähe, die bleibt.",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        }
      ]
    },
    {
      "id": "08",
      "path": "boards/08-newsletter.png",
      "sha256": "7da45d9b9b2cfb171496e40edad4b16f2baf53799869adacb4941739fea98edc",
      "reviewer": "/root/personal_context/parent_refs",
      "full_size_viewed": true,
      "enlarged_text_viewed": true,
      "occurrence_inventory_complete": true,
      "declared_visible_text_count": 7,
      "occurrences": [
        {
          "id": "number",
          "kind": "label",
          "box": [
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          ],
          "expected": "08",
          "observed": "08",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "section",
          "kind": "label",
          "box": [
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          ],
          "expected": "Newsletter",
          "observed": "Newsletter",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "campaign",
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          "box": [
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            0.0311
          ],
          "expected": "Weltstillwoche",
          "observed": "Weltstillwoche",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "headline",
          "kind": "headline",
          "box": [
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            0.511164,
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          ],
          "expected": "Nähe, die bleibt.",
          "observed": "Nähe, die bleibt.",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "body-heading",
          "kind": "headline",
          "box": [
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            0.608453,
            0.066986
          ],
          "expected": "Ein Moment für uns.",
          "observed": "Ein Moment für uns.",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "body",
          "kind": "utility",
          "box": [
            0.070175,
            0.655502,
            0.651515,
            0.047049
          ],
          "expected": "Kleine Momente. Große Nähe.",
          "observed": "Kleine Momente. Große Nähe.",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "cta",
          "kind": "utility",
          "box": [
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            0.136364,
            0.035088
          ],
          "expected": "Entdecken",
          "observed": "Entdecken",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        }
      ]
    },
    {
      "id": "09",
      "path": "boards/09-print.png",
      "sha256": "a20eda2006ed98495e99fa13c1f308efc4fb139c3fa4a81fb38391300ec0b6c7",
      "reviewer": "/root/personal_context/parent_refs",
      "full_size_viewed": true,
      "enlarged_text_viewed": true,
      "occurrence_inventory_complete": true,
      "declared_visible_text_count": 8,
      "occurrences": [
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          "kind": "label",
          "box": [
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          ],
          "expected": "09",
          "observed": "09",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "section",
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          ],
          "expected": "Print",
          "observed": "Print",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "front-campaign",
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          "expected": "Weltstillwoche",
          "observed": "Weltstillwoche",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "front-headline",
          "kind": "headline",
          "box": [
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          ],
          "expected": "Nähe, die bleibt.",
          "observed": "Nähe, die bleibt.",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "back-campaign",
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          "expected": "Weltstillwoche",
          "observed": "Weltstillwoche",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "back-heading",
          "kind": "headline",
          "box": [
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          ],
          "expected": "Ein Moment für uns.",
          "observed": "Ein Moment für uns.",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "front-label",
          "kind": "label",
          "box": [
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            0.888357,
            0.148325,
            0.029506
          ],
          "expected": "Vorderseite",
          "observed": "Vorderseite",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "back-label",
          "kind": "label",
          "box": [
            0.680223,
            0.937799,
            0.118022,
            0.028708
          ],
          "expected": "Rückseite",
          "observed": "Rückseite",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        }
      ]
    },
    {
      "id": "10",
      "path": "boards/10-toolkit.png",
      "sha256": "e8735b096fc031367b8749ef61eead4fc2201af342361f93e665775de2eec738",
      "reviewer": "/root/personal_context/parent_refs",
      "full_size_viewed": true,
      "enlarged_text_viewed": true,
      "occurrence_inventory_complete": true,
      "declared_visible_text_count": 13,
      "occurrences": [
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          "id": "number",
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          "box": [
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          "expected": "10",
          "observed": "10",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "section",
          "kind": "label",
          "box": [
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          ],
          "expected": "Werkzeugkasten",
          "observed": "Werkzeugkasten",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
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          "expected": "Logo",
          "observed": "Logo",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
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          "status": "pass"
        },
        {
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          "expected": "Typografie",
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          "status": "pass"
        },
        {
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          "expected": "Nähe, die bleibt.",
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          "status": "pass"
        },
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          "expected": "Material",
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          "expected": "Leinen",
          "observed": "Leinen",
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        },
        {
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          "kind": "label",
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          "observed": "Porzellan",
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          "expected": "Motiv",
          "observed": "Motiv",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "surface-label",
          "kind": "label",
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        },
        {
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          "expected": "Entdecken",
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        },
        {
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          "expected": "Entdecken",
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}

browser-runtime.json

qa/browser-runtime.json

JSON · 574 B

Pokaż treść
{
  "status": "unverified",
  "runtime_attempt": "Playwright Chromium headless",
  "reason": "Browser executable absent. One Playwright install invocation failed; downloader returned an invalid/truncated archive. No further install retries attempted.",
  "verified": [],
  "unverified": [
    "desktop visual rendering",
    "mobile visual rendering",
    "file protocol local font loading",
    "keyboard interaction",
    "download behavior",
    "theme and catalogue controls in actual browser"
  ],
  "scope": "Structural HTML/JS checks do not prove runtime behavior."
}

contrast.json

qa/contrast.json

JSON · 1,799 B

Pokaż treść
{
  "status": "pass",
  "scope": "Declared CSS theme pairs, not all image pixels",
  "pairs": [
    {
      "theme": "light",
      "foreground": "foreground",
      "background": "background",
      "ratio": 9.818,
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      "status": "pass"
    },
    {
      "theme": "light",
      "foreground": "muted-foreground",
      "background": "muted",
      "ratio": 5.693,
      "minimum": 4.5,
      "status": "pass"
    },
    {
      "theme": "light",
      "foreground": "primary-foreground",
      "background": "primary",
      "ratio": 11.149,
      "minimum": 4.5,
      "status": "pass"
    },
    {
      "theme": "light",
      "foreground": "ring",
      "background": "background",
      "ratio": 4.525,
      "minimum": 3,
      "status": "pass"
    },
    {
      "theme": "light",
      "foreground": "input",
      "background": "background",
      "ratio": 4.525,
      "minimum": 3,
      "status": "pass"
    },
    {
      "theme": "dark",
      "foreground": "foreground",
      "background": "background",
      "ratio": 15.227,
      "minimum": 4.5,
      "status": "pass"
    },
    {
      "theme": "dark",
      "foreground": "muted-foreground",
      "background": "muted",
      "ratio": 9.101,
      "minimum": 4.5,
      "status": "pass"
    },
    {
      "theme": "dark",
      "foreground": "primary-foreground",
      "background": "primary",
      "ratio": 8.315,
      "minimum": 4.5,
      "status": "pass"
    },
    {
      "theme": "dark",
      "foreground": "ring",
      "background": "background",
      "ratio": 8.315,
      "minimum": 3,
      "status": "pass"
    },
    {
      "theme": "dark",
      "foreground": "input",
      "background": "background",
      "ratio": 8.315,
      "minimum": 3,
      "status": "pass"
    }
  ]
}

font-report.json

qa/font-report.json

JSON · 839 B

Pokaż treść
{
  "font": "Nunito Sans",
  "file": "assets/fonts/NunitoSans-Variable.ttf",
  "sha256": "f934d7142fb4784bf828da485b7dcbd90c0c80d514e9d49a5da0ed3a1ae2491d",
  "license_file": "assets/fonts/OFL.txt",
  "glyph_coverage": {
    "missing_characters": [],
    "all_campaign_strings_covered": true
  },
  "axes": [
    {
      "tag": "wght",
      "minimum": 200.0,
      "default": 200.0,
      "maximum": 1000.0
    },
    {
      "tag": "wdth",
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      "default": 100.0,
      "maximum": 125.0
    },
    {
      "tag": "opsz",
      "minimum": 6.0,
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    },
    {
      "tag": "YTLC",
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      "default": 500.0,
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    }
  ],
  "source_url": "https://github.com/google/fonts/tree/main/ofl/nunitosans",
  "retrieved_date": "2026-09-30"
}

full-png-decode.json

qa/full-png-decode.json

JSON · 19,050 B

Pokaż treść
{
  "status": "pass",
  "scope": "Full Pillow Image.load of all final bundled PNGs including WEB aliases",
  "count": 82,
  "files": [
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      "status": "pass",
      "width": 1254,
      "height": 1254,
      "mode": "RGB",
      "sha256": "66b799bb0d760c36bd4f182b1082c986c7528777f2785cc0c325920715c92cba"
    },
    {
      "path": "assets/app-icons/light.png",
      "status": "pass",
      "width": 1254,
      "height": 1254,
      "mode": "RGB",
      "sha256": "b6d86ce8f4c34bf2d966ca9953700d00b55f0b19588271a7d84289857edabdb7"
    },
    {
      "path": "assets/backgrounds/lilac-linen-open-arc.png",
      "status": "pass",
      "width": 1254,
      "height": 1254,
      "mode": "RGB",
      "sha256": "fd5c90136a0b7d7dc6207ebce9622133eb5c14e2df71d2807fa33768f9c27cd0"
    },
    {
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      "status": "pass",
      "width": 1254,
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      "mode": "RGBA",
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    },
    {
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      "status": "pass",
      "width": 1254,
      "height": 1254,
      "mode": "RGBA",
      "sha256": "633109cc252e5206665c54e8d546c8b39ec0acc5d53413efb1d9613f0647d14e"
    },
    {
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      "width": 1254,
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      "mode": "RGBA",
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    },
    {
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      "status": "pass",
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    },
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      "width": 1254,
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    },
    {
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      "width": 1254,
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      "mode": "RGBA",
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    },
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      "mode": "RGBA",
      "sha256": "05e606432fc7845858a9a00107fe2d1bfecd02d2cefdeb9d2678ccf1e5b39005"
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      "width": 1254,
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      "sha256": "401dac7cb5ddabaae0fee99acca7098d89ff42a893ea8fcc318c6e91bea566e7"
    },
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      "width": 1254,
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      "mode": "RGBA",
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      "width": 1254,
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    },
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      "mode": "RGBA",
      "sha256": "fbdef21a24558b45be8c26e9cc71126a9f932614cd00220de9c2660d1531e8d0"
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      "mode": "RGBA",
      "sha256": "af8417ca06c0154ed4da4f81f92837d78ad6c5ee7368127be6ba5e13ee8985f3"
    },
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      "width": 1254,
      "height": 1254,
      "mode": "RGBA",
      "sha256": "e90dfb73341af3a1ee25c359297b10c100547457d1a172b23bc65d12d7d43d4b"
    },
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      "width": 1254,
      "height": 1254,
      "mode": "RGBA",
      "sha256": "fbdef21a24558b45be8c26e9cc71126a9f932614cd00220de9c2660d1531e8d0"
    },
    {
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      "status": "pass",
      "width": 1254,
      "height": 1254,
      "mode": "RGBA",
      "sha256": "e90dfb73341af3a1ee25c359297b10c100547457d1a172b23bc65d12d7d43d4b"
    },
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      "status": "pass",
      "width": 1254,
      "height": 1254,
      "mode": "RGBA",
      "sha256": "c643fabbd814482cbf5b263e4abc7ad7f5975c85b62c3b51ab3ee11d91cd8425"
    },
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      "width": 1254,
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      "mode": "RGBA",
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    },
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      "width": 1254,
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      "sha256": "cd0558d22e209f47f7ca1ac67ddd6a17a0c9475a51a1a402ecb75d77a9af7c0d"
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      "width": 1254,
      "height": 1254,
      "mode": "RGBA",
      "sha256": "c643fabbd814482cbf5b263e4abc7ad7f5975c85b62c3b51ab3ee11d91cd8425"
    },
    {
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      "status": "pass",
      "width": 1254,
      "height": 1254,
      "mode": "RGBA",
      "sha256": "cd0558d22e209f47f7ca1ac67ddd6a17a0c9475a51a1a402ecb75d77a9af7c0d"
    },
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      "path": "assets/logos/it/dark.png",
      "status": "pass",
      "width": 1254,
      "height": 1254,
      "mode": "RGBA",
      "sha256": "b67cd41e5bbf251c521dadfc2a7a86dee2f27f6c00c223e63a6ca40cc9046b26"
    },
    {
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      "width": 1254,
      "height": 1254,
      "mode": "RGBA",
      "sha256": "7e6dd47ed2b21d09482cbfbc5969455106e78ea99ae31c0b6f01abd32583f329"
    },
    {
      "path": "assets/logos/it/light.png",
      "status": "pass",
      "width": 1254,
      "height": 1254,
      "mode": "RGBA",
      "sha256": "6abd76999778a3927a211faef2a9a3f45eeaf0edea45d5f772ccfde3cba39809"
    },
    {
      "path": "assets/logos/it/web-dark.png",
      "status": "pass",
      "width": 1254,
      "height": 1254,
      "mode": "RGBA",
      "sha256": "b67cd41e5bbf251c521dadfc2a7a86dee2f27f6c00c223e63a6ca40cc9046b26"
    },
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      "status": "pass",
      "width": 1254,
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      "mode": "RGBA",
      "sha256": "6abd76999778a3927a211faef2a9a3f45eeaf0edea45d5f772ccfde3cba39809"
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      "path": "assets/logos/nl/dark.png",
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      "width": 1254,
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      "mode": "RGBA",
      "sha256": "a4730b5250f6c9db7037f6fa72dbcb0660c72574dedf324c963b6c8fbb1e899d"
    },
    {
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      "width": 1254,
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      "mode": "RGBA",
      "sha256": "0164b799a63287a6302c8d5c710d4e658ee18c829bb5fab757a997a3ad026dba"
    },
    {
      "path": "assets/logos/nl/light.png",
      "status": "pass",
      "width": 1254,
      "height": 1254,
      "mode": "RGBA",
      "sha256": "8fa5a5475c3228dfc968c7275ca04c8bad6f43fc2691692595ba2d000362d2ae"
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      "width": 1254,
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      "status": "pass",
      "width": 1254,
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    },
    {
      "path": "assets/logos/pl/dark.png",
      "status": "pass",
      "width": 1254,
      "height": 1254,
      "mode": "RGBA",
      "sha256": "e2511f87631debae7696d660d3f2997a83274d5e1f5bba2b06860ab3bef9ba17"
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      "status": "pass",
      "width": 1254,
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      "mode": "RGBA",
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      "status": "pass",
      "width": 1254,
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      "mode": "RGBA",
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    {
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      "status": "pass",
      "width": 1254,
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      "mode": "RGBA",
      "sha256": "e2511f87631debae7696d660d3f2997a83274d5e1f5bba2b06860ab3bef9ba17"
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    {
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      "status": "pass",
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      "mode": "RGBA",
      "sha256": "15ce53a2a47cc0687fb2b0573bf056cd507d4940b90f569c48e838293bb773d1"
    },
    {
      "path": "assets/logos/pt/dark.png",
      "status": "pass",
      "width": 1254,
      "height": 1254,
      "mode": "RGBA",
      "sha256": "7102c6248f594daf3ef96c467cd14ba59a2bd7430885bbe0d41a4b6a207c613d"
    },
    {
      "path": "assets/logos/pt/full-3d.png",
      "status": "pass",
      "width": 1254,
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      "mode": "RGBA",
      "sha256": "8db79cc09b3a118a85eb663e2d02aabf3c384ff22f359f455bc1625b9c266cb1"
    },
    {
      "path": "assets/logos/pt/light.png",
      "status": "pass",
      "width": 1254,
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      "mode": "RGBA",
      "sha256": "33eb7cd049f0c8aebdead68da43ab65fb165d554ae1378c22bb6cebe8cd8141d"
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    {
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      "width": 1254,
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      "mode": "RGBA",
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      "mode": "RGBA",
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      "width": 1254,
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      "mode": "RGBA",
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      "sha256": "620946ec8de658e4f13b420523f589415e3f8c590dd53f10bbfa485b02d2c6ec"
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      "width": 1254,
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      "mode": "RGBA",
      "sha256": "b56e087b49ffce2a1a80b32a87327295e5b0fbd23e4cc5fe2fdce1f38b3f1223"
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    },
    {
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      "status": "pass",
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      "mode": "RGB",
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      "status": "pass",
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    {
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      "width": 1254,
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      "mode": "RGB",
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      "path": "sources/identity-originals/pl.png",
      "status": "pass",
      "width": 1254,
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      "mode": "RGB",
      "sha256": "355209916241bf0fade6d42aea7f22f2a7f3622fbace8ad1cc9ed8ce16702da4"
    },
    {
      "path": "sources/identity-originals/pt.png",
      "status": "pass",
      "width": 1254,
      "height": 1254,
      "mode": "RGB",
      "sha256": "17e639b0329c0a573e87eb5dec2a5638729df10a32a907b45f2a29f10f44b933"
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      "status": "pass",
      "width": 1254,
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}

index-build.json

qa/index-build.json

JSON · 88 B

Pokaż treść
{
  "returncode": 0,
  "stdout": "{\"pass\": true, \"errors\": []}\n",
  "stderr": ""
}

javascript-syntax.json

qa/javascript-syntax.json

JSON · 317 B

Pokaż treść
{
  "status": "pass",
  "scope": "JavaScript syntax, not rendered browser interaction",
  "checks": [
    {
      "file": "index.html",
      "script": 0,
      "status": "pass",
      "error": ""
    },
    {
      "file": "web/specimen.html",
      "script": 0,
      "status": "pass",
      "error": ""
    }
  ]
}

lettering-validation.json

qa/lettering-validation.json

JSON · 329 B

Pokaż treść
{
  "returncode": 0,
  "stdout": "{\n  \"status\": \"pass\",\n  \"scope\": \"recorded_review_coverage_and_file_hashes_only\",\n  \"not_proven\": [\n    \"actual pixel spelling\",\n    \"inventory completeness\",\n    \"review actually performed\"\n  ],\n  \"out_of_scope_findings\": [],\n  \"errors\": []\n}\n",
  "stderr": ""
}

lettering.json

qa/lettering.json

JSON · 45,330 B

Pokaż treść
{
  "schema_version": 1,
  "scope": "foundation_boards",
  "campaign_name": "Weltstillwoche",
  "status": "pass",
  "boards": [
    {
      "id": "01",
      "path": "boards/01-campaign-world.png",
      "reviewer": "toolkit_assets independent visual QA",
      "full_size_viewed": true,
      "enlarged_text_viewed": true,
      "occurrence_inventory_complete": true,
      "declared_visible_text_count": 6,
      "observations": [
        "Large satin porcelain headline retains both umlaut dots, comma and final period. All text readable and unobscured.",
        "Natural neutral skin and close parent–infant gesture establish the image direction. No product or offer is depicted."
      ],
      "identity": {
        "symbol_occurrences_checked": 1,
        "two_face_profiles_per_symbol": true,
        "two_closed_eye_accents_per_symbol": true,
        "topology_status": "pass",
        "exact_pixel_geometry_claim": false
      },
      "occurrences": [
        {
          "id": "01-number",
          "kind": "label",
          "box": [
            0.777512,
            0.051037,
            0.0311,
            0.028708
          ],
          "expected": "01",
          "observed": "01",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "01-title",
          "kind": "label",
          "box": [
            0.778309,
            0.085327,
            0.198565,
            0.032695
          ],
          "expected": "Kampagnenwelt",
          "observed": "Kampagnenwelt",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "01-signature",
          "kind": "campaign_name",
          "box": [
            0.046252,
            0.180223,
            0.208931,
            0.036683
          ],
          "expected": "Weltstillwoche",
          "observed": "Weltstillwoche",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "01-hero",
          "kind": "headline",
          "box": [
            0.028708,
            0.241627,
            0.642743,
            0.303828
          ],
          "expected": "Nähe, die bleibt.",
          "observed": "Nähe, die bleibt.",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "01-material-linen",
          "kind": "label",
          "box": [
            0.079745,
            0.825359,
            0.075758,
            0.027911
          ],
          "expected": "Leinen",
          "observed": "Leinen",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "01-material-porcelain",
          "kind": "label",
          "box": [
            0.230463,
            0.825359,
            0.102073,
            0.027911
          ],
          "expected": "Porzellan",
          "observed": "Porzellan",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        }
      ],
      "sha256": "94fe667acc263a392381d8c7d9283f0752af73e1062716991a0ed0e7e58c4618"
    },
    {
      "id": "02",
      "path": "boards/02-logo-system.png",
      "reviewer": "toolkit_assets independent visual QA",
      "full_size_viewed": true,
      "enlarged_text_viewed": true,
      "occurrence_inventory_complete": true,
      "declared_visible_text_count": 9,
      "observations": [
        "Four symbol depictions retain enclosing silhouette, two negative-space profiles and two closed-eye accents: Light, Dark, isolated Symbol and 3D.",
        "Three visible wordmarks spell Weltstillwoche. 3D is a rendered raster material treatment."
      ],
      "identity": {
        "symbol_occurrences_checked": 4,
        "two_face_profiles_per_symbol": true,
        "two_closed_eye_accents_per_symbol": true,
        "topology_status": "pass",
        "exact_pixel_geometry_claim": false
      },
      "occurrences": [
        {
          "id": "02-number",
          "kind": "label",
          "box": [
            0.03429,
            0.027911,
            0.061404,
            0.038278
          ],
          "expected": "02",
          "observed": "02",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "02-title",
          "kind": "label",
          "box": [
            0.036683,
            0.069378,
            0.232855,
            0.03748
          ],
          "expected": "Logo-System",
          "observed": "Logo-System",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "02-light-name",
          "kind": "campaign_name",
          "box": [
            0.046252,
            0.438596,
            0.414673,
            0.065391
          ],
          "expected": "Weltstillwoche",
          "observed": "Weltstillwoche",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "02-light-label",
          "kind": "label",
          "box": [
            0.217703,
            0.511164,
            0.067783,
            0.032695
          ],
          "expected": "Light",
          "observed": "Light",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "02-dark-name",
          "kind": "campaign_name",
          "box": [
            0.548644,
            0.437002,
            0.409091,
            0.066986
          ],
          "expected": "Weltstillwoche",
          "observed": "Weltstillwoche",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "02-dark-label",
          "kind": "label",
          "box": [
            0.720096,
            0.509569,
            0.059809,
            0.031898
          ],
          "expected": "Dark",
          "observed": "Dark",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "02-symbol-label",
          "kind": "label",
          "box": [
            0.204147,
            0.931419,
            0.088517,
            0.031898
          ],
          "expected": "Symbol",
          "observed": "Symbol",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "02-3d-name",
          "kind": "campaign_name",
          "box": [
            0.438596,
            0.832536,
            0.523923,
            0.095694
          ],
          "expected": "Weltstillwoche",
          "observed": "Weltstillwoche",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "02-3d-label",
          "kind": "label",
          "box": [
            0.6874,
            0.931419,
            0.04067,
            0.031898
          ],
          "expected": "3D",
          "observed": "3D",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        }
      ],
      "sha256": "e280d3a7be2a2c06d11fc219cfb56bcee69e06c759803204b237c283169d8664"
    },
    {
      "id": "03",
      "path": "boards/03-palette-type.png",
      "reviewer": "toolkit_assets independent visual QA",
      "full_size_viewed": true,
      "enlarged_text_viewed": true,
      "occurrence_inventory_complete": true,
      "declared_visible_text_count": 15,
      "observations": [
        "Five hexadecimal strings match the color targets. Swatches are shaded material renders and cannot establish exact pixel token colors.",
        "WEB font-family label specifies an implementation choice, not proof that generated glyph outlines are Nunito Sans.",
        "Bottom signature retains two face profiles and two eye accents; all lettering legible."
      ],
      "identity": {
        "symbol_occurrences_checked": 1,
        "two_face_profiles_per_symbol": true,
        "two_closed_eye_accents_per_symbol": true,
        "topology_status": "pass",
        "exact_pixel_geometry_claim": false
      },
      "occurrences": [
        {
          "id": "03-number",
          "kind": "label",
          "box": [
            0.036683,
            0.04386,
            0.072568,
            0.053429
          ],
          "expected": "03",
          "observed": "03",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "03-title",
          "kind": "label",
          "box": [
            0.033493,
            0.10925,
            0.685805,
            0.085327
          ],
          "expected": "Farbe & Typografie",
          "observed": "Farbe & Typografie",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "03-violet-hex",
          "kind": "utility",
          "box": [
            0.062998,
            0.406699,
            0.132376,
            0.033493
          ],
          "expected": "#8A5AA5",
          "observed": "#8A5AA5",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "03-plum-hex",
          "kind": "utility",
          "box": [
            0.252791,
            0.406699,
            0.125997,
            0.033493
          ],
          "expected": "#4F2873",
          "observed": "#4F2873",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "03-pale-hex",
          "kind": "utility",
          "box": [
            0.439394,
            0.406699,
            0.124402,
            0.033493
          ],
          "expected": "#F5EEFA",
          "observed": "#F5EEFA",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "03-lilac-hex",
          "kind": "utility",
          "box": [
            0.623604,
            0.406699,
            0.131579,
            0.033493
          ],
          "expected": "#C9A7E1",
          "observed": "#C9A7E1",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "03-dark-hex",
          "kind": "utility",
          "box": [
            0.813397,
            0.406699,
            0.125199,
            0.033493
          ],
          "expected": "#251330",
          "observed": "#251330",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "03-web-label",
          "kind": "label",
          "box": [
            0.038278,
            0.486443,
            0.066188,
            0.032695
          ],
          "expected": "WEB",
          "observed": "WEB",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "03-web-family",
          "kind": "label",
          "box": [
            0.035885,
            0.527113,
            0.248006,
            0.047049
          ],
          "expected": "Nunito Sans",
          "observed": "Nunito Sans",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "03-web-headline",
          "kind": "headline",
          "box": [
            0.03429,
            0.586124,
            0.408293,
            0.181021
          ],
          "expected": "Nähe, die bleibt.",
          "observed": "Nähe, die bleibt.",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "03-specimen",
          "kind": "utility",
          "box": [
            0.039075,
            0.776715,
            0.339713,
            0.053429
          ],
          "expected": "Aa Bb Cc · 123",
          "observed": "Aa Bb Cc · 123",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "03-creative-label",
          "kind": "label",
          "box": [
            0.478469,
            0.486443,
            0.130781,
            0.032695
          ],
          "expected": "CREATIVE",
          "observed": "CREATIVE",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "03-creative-headline",
          "kind": "headline",
          "box": [
            0.478469,
            0.556619,
            0.496013,
            0.233652
          ],
          "expected": "Nähe",
          "observed": "Nähe",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "03-creative-material",
          "kind": "label",
          "box": [
            0.482456,
            0.788676,
            0.203349,
            0.038278
          ],
          "expected": "Porzellan in 3D",
          "observed": "Porzellan in 3D",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "03-signature",
          "kind": "campaign_name",
          "box": [
            0.408293,
            0.901914,
            0.304625,
            0.051037
          ],
          "expected": "Weltstillwoche",
          "observed": "Weltstillwoche",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        }
      ],
      "sha256": "641bf72a94829428c58328f7d27d55c73f836b48548b0849140926911fea7bec"
    },
    {
      "id": "04",
      "path": "boards/04-photography.png",
      "reviewer": "toolkit_assets independent visual QA",
      "full_size_viewed": true,
      "enlarged_text_viewed": true,
      "occurrence_inventory_complete": true,
      "declared_visible_text_count": 6,
      "observations": [
        "All three German photo labels have correct spelling and umlauts. Signature has two closed-eye accents.",
        "Three illustrative photographs show daylight, close holding and an infant hand around an adult finger. Visible infant mouth and nose are unobstructed. This is photo direction, not a certified babywearing instruction or real customer documentation."
      ],
      "identity": {
        "symbol_occurrences_checked": 1,
        "two_face_profiles_per_symbol": true,
        "two_closed_eye_accents_per_symbol": true,
        "topology_status": "pass",
        "exact_pixel_geometry_claim": false
      },
      "occurrences": [
        {
          "id": "04-number",
          "kind": "label",
          "box": [
            0.842903,
            0.04386,
            0.04386,
            0.0311
          ],
          "expected": "04",
          "observed": "04",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "04-title",
          "kind": "label",
          "box": [
            0.842903,
            0.075758,
            0.110845,
            0.035885
          ],
          "expected": "Bildwelt",
          "observed": "Bildwelt",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "04-signature",
          "kind": "campaign_name",
          "box": [
            0.692982,
            0.130781,
            0.168262,
            0.031898
          ],
          "expected": "Weltstillwoche",
          "observed": "Weltstillwoche",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "04-daylight-label",
          "kind": "label",
          "box": [
            0.046252,
            0.46571,
            0.188198,
            0.045455
          ],
          "expected": "Tageslicht",
          "observed": "Tageslicht",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "04-closeness-label",
          "kind": "label",
          "box": [
            0.854067,
            0.778309,
            0.101276,
            0.038278
          ],
          "expected": "Nähe",
          "observed": "Nähe",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "04-touch-label",
          "kind": "label",
          "box": [
            0.047049,
            0.886762,
            0.1874,
            0.04386
          ],
          "expected": "Berührung",
          "observed": "Berührung",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        }
      ],
      "sha256": "62e23719bd67a38a1684772b41be41a71c0b4f291f03228529f857d5efe502ad"
    },
    {
      "id": "05",
      "path": "boards/05-type-ui-motifs.png",
      "reviewer": "toolkit_assets independent visual QA",
      "full_size_viewed": true,
      "enlarged_text_viewed": true,
      "occurrence_inventory_complete": true,
      "declared_visible_text_count": 10,
      "observations": [
        "Headline and all UI labels correct and unobscured; decorative arrow is an icon, not an additional text string.",
        "Both eyes remain visible in the signature. Three open curves and one heart outline are deliberate motif examples.",
        "WEB controls are illustrative material-lit pills with shadows, although labels are flat and crisp. Documentation must specify actual flat semantic WEB controls and not claim this image is functional UI."
      ],
      "identity": {
        "symbol_occurrences_checked": 1,
        "two_face_profiles_per_symbol": true,
        "two_closed_eye_accents_per_symbol": true,
        "topology_status": "pass",
        "exact_pixel_geometry_claim": false
      },
      "occurrences": [
        {
          "id": "05-number",
          "kind": "label",
          "box": [
            0.043062,
            0.042265,
            0.059011,
            0.04067
          ],
          "expected": "05",
          "observed": "05",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "05-title",
          "kind": "label",
          "box": [
            0.036683,
            0.082137,
            0.549442,
            0.070175
          ],
          "expected": "Typo, Motive & UI",
          "observed": "Typo, Motive & UI",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "05-creative-label",
          "kind": "label",
          "box": [
            0.042265,
            0.1874,
            0.132376,
            0.028708
          ],
          "expected": "CREATIVE",
          "observed": "CREATIVE",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "05-signature",
          "kind": "campaign_name",
          "box": [
            0.757576,
            0.19378,
            0.223285,
            0.039075
          ],
          "expected": "Weltstillwoche",
          "observed": "Weltstillwoche",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "05-hero",
          "kind": "headline",
          "box": [
            0.031898,
            0.228868,
            0.728868,
            0.354067
          ],
          "expected": "Nähe, die bleibt.",
          "observed": "Nähe, die bleibt.",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "05-web-label",
          "kind": "label",
          "box": [
            0.039075,
            0.678628,
            0.066986,
            0.030303
          ],
          "expected": "WEB",
          "observed": "WEB",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "05-primary-button",
          "kind": "utility",
          "box": [
            0.106061,
            0.736842,
            0.169856,
            0.039075
          ],
          "expected": "Entdecken",
          "observed": "Entdecken",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "05-secondary-button",
          "kind": "utility",
          "box": [
            0.118022,
            0.825359,
            0.208134,
            0.035088
          ],
          "expected": "Mehr erfahren",
          "observed": "Mehr erfahren",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "05-theme-light",
          "kind": "utility",
          "box": [
            0.148325,
            0.905104,
            0.065391,
            0.03748
          ],
          "expected": "Light",
          "observed": "Light",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "05-theme-dark",
          "kind": "utility",
          "box": [
            0.314195,
            0.905104,
            0.061404,
            0.035885
          ],
          "expected": "Dark",
          "observed": "Dark",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        }
      ],
      "sha256": "6d2a1826432ca79a0bd3cc7740eda406c32562b7b4502d19ef453a12a3324d2c"
    },
    {
      "id": "06",
      "path": "boards/06-social.png",
      "sha256": "ef45272dca1f5893d02538d39684ec55c0b0f046b2f234ce5aba4eb1572b3f5c",
      "reviewer": "/root/personal_context/parent_refs",
      "full_size_viewed": true,
      "enlarged_text_viewed": true,
      "occurrence_inventory_complete": true,
      "declared_visible_text_count": 10,
      "occurrences": [
        {
          "id": "number",
          "kind": "label",
          "box": [
            0.782297,
            0.029506,
            0.03429,
            0.030303
          ],
          "expected": "06",
          "observed": "06",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "section",
          "kind": "label",
          "box": [
            0.783094,
            0.065391,
            0.198565,
            0.031898
          ],
          "expected": "Soziale Medien",
          "observed": "Soziale Medien",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "left-campaign",
          "kind": "campaign_name",
          "box": [
            0.061404,
            0.247209,
            0.15949,
            0.029506
          ],
          "expected": "Weltstillwoche",
          "observed": "Weltstillwoche",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "left-headline",
          "kind": "headline",
          "box": [
            0.044657,
            0.283094,
            0.476874,
            0.223285
          ],
          "expected": "Nähe, die bleibt.",
          "observed": "Nähe, die bleibt.",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "left-cta",
          "kind": "utility",
          "box": [
            0.086922,
            0.538278,
            0.163477,
            0.033493
          ],
          "expected": "Entdecken",
          "observed": "Entdecken",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "right-campaign",
          "kind": "campaign_name",
          "box": [
            0.624402,
            0.320574,
            0.140351,
            0.027113
          ],
          "expected": "Weltstillwoche",
          "observed": "Weltstillwoche",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "right-headline",
          "kind": "headline",
          "box": [
            0.594896,
            0.366826,
            0.300638,
            0.154705
          ],
          "expected": "Nähe, die bleibt.",
          "observed": "Nähe, die bleibt.",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "right-cta",
          "kind": "utility",
          "box": [
            0.642743,
            0.544657,
            0.130781,
            0.029506
          ],
          "expected": "Entdecken",
          "observed": "Entdecken",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "square-label",
          "kind": "label",
          "box": [
            0.018341,
            0.727273,
            0.213716,
            0.057416
          ],
          "expected": "Quadrat",
          "observed": "Quadrat",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "portrait-label",
          "kind": "label",
          "box": [
            0.580542,
            0.907496,
            0.291866,
            0.057416
          ],
          "expected": "Hochformat",
          "observed": "Hochformat",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        }
      ]
    },
    {
      "id": "07",
      "path": "boards/07-web.png",
      "sha256": "e9560b1294e78341476037004c7292d288cb2921ce712270187d4b805ebd46bb",
      "reviewer": "/root/personal_context/parent_refs",
      "full_size_viewed": true,
      "enlarged_text_viewed": true,
      "occurrence_inventory_complete": true,
      "declared_visible_text_count": 17,
      "occurrences": [
        {
          "id": "number",
          "kind": "label",
          "box": [
            0.838915,
            0.03748,
            0.036683,
            0.030303
          ],
          "expected": "07",
          "observed": "07",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "section",
          "kind": "label",
          "box": [
            0.837321,
            0.070175,
            0.11563,
            0.033493
          ],
          "expected": "Website",
          "observed": "Website",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "header-campaign",
          "kind": "campaign_name",
          "box": [
            0.035088,
            0.131579,
            0.165072,
            0.030303
          ],
          "expected": "Weltstillwoche",
          "observed": "Weltstillwoche",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "milkies-label",
          "kind": "parent_wordmark",
          "box": [
            0.03429,
            0.174641,
            0.103668,
            0.032695
          ],
          "expected": "MILKIES",
          "observed": "MILKIES",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "milkies-desktop-label",
          "kind": "label",
          "box": [
            0.035088,
            0.206539,
            0.086124,
            0.023126
          ],
          "expected": "Desktop",
          "observed": "Desktop",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "milkies-mobile-label",
          "kind": "label",
          "box": [
            0.651515,
            0.204944,
            0.058214,
            0.023923
          ],
          "expected": "Mobil",
          "observed": "Mobil",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "milkies-desktop-campaign",
          "kind": "campaign_name",
          "box": [
            0.047049,
            0.329346,
            0.152313,
            0.027911
          ],
          "expected": "Weltstillwoche",
          "observed": "Weltstillwoche",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "milkies-desktop-headline",
          "kind": "headline",
          "box": [
            0.043062,
            0.361244,
            0.314992,
            0.157097
          ],
          "expected": "Nähe, die bleibt.",
          "observed": "Nähe, die bleibt.",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "milkies-mobile-campaign",
          "kind": "campaign_name",
          "box": [
            0.766348,
            0.251196,
            0.147528,
            0.030303
          ],
          "expected": "Weltstillwoche",
          "observed": "Weltstillwoche",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "milkies-mobile-headline",
          "kind": "headline",
          "box": [
            0.664274,
            0.301435,
            0.292663,
            0.136364
          ],
          "expected": "Nähe, die bleibt.",
          "observed": "Nähe, die bleibt.",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "diy-label",
          "kind": "parent_wordmark",
          "box": [
            0.03429,
            0.577352,
            0.192185,
            0.032695
          ],
          "expected": "DIY by MILKIES",
          "observed": "DIY by MILKIES",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "diy-desktop-label",
          "kind": "label",
          "box": [
            0.035885,
            0.608453,
            0.086124,
            0.024721
          ],
          "expected": "Desktop",
          "observed": "Desktop",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "diy-mobile-label",
          "kind": "label",
          "box": [
            0.652313,
            0.607656,
            0.055024,
            0.025518
          ],
          "expected": "Mobil",
          "observed": "Mobil",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "diy-desktop-campaign",
          "kind": "campaign_name",
          "box": [
            0.046252,
            0.733652,
            0.157895,
            0.0311
          ],
          "expected": "Weltstillwoche",
          "observed": "Weltstillwoche",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "diy-desktop-headline",
          "kind": "headline",
          "box": [
            0.041467,
            0.770335,
            0.318182,
            0.149123
          ],
          "expected": "Nähe, die bleibt.",
          "observed": "Nähe, die bleibt.",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "diy-mobile-campaign",
          "kind": "campaign_name",
          "box": [
            0.767145,
            0.657097,
            0.14992,
            0.030303
          ],
          "expected": "Weltstillwoche",
          "observed": "Weltstillwoche",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "diy-mobile-headline",
          "kind": "headline",
          "box": [
            0.663477,
            0.704147,
            0.294258,
            0.137161
          ],
          "expected": "Nähe, die bleibt.",
          "observed": "Nähe, die bleibt.",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        }
      ]
    },
    {
      "id": "08",
      "path": "boards/08-newsletter.png",
      "sha256": "7da45d9b9b2cfb171496e40edad4b16f2baf53799869adacb4941739fea98edc",
      "reviewer": "/root/personal_context/parent_refs",
      "full_size_viewed": true,
      "enlarged_text_viewed": true,
      "occurrence_inventory_complete": true,
      "declared_visible_text_count": 7,
      "occurrences": [
        {
          "id": "number",
          "kind": "label",
          "box": [
            0.837321,
            0.014354,
            0.038278,
            0.027113
          ],
          "expected": "08",
          "observed": "08",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "section",
          "kind": "label",
          "box": [
            0.837321,
            0.04067,
            0.138756,
            0.0311
          ],
          "expected": "Newsletter",
          "observed": "Newsletter",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "campaign",
          "kind": "campaign_name",
          "box": [
            0.123604,
            0.23126,
            0.175439,
            0.0311
          ],
          "expected": "Weltstillwoche",
          "observed": "Weltstillwoche",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "headline",
          "kind": "headline",
          "box": [
            0.046252,
            0.277512,
            0.511164,
            0.247209
          ],
          "expected": "Nähe, die bleibt.",
          "observed": "Nähe, die bleibt.",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "body-heading",
          "kind": "headline",
          "box": [
            0.067783,
            0.582935,
            0.608453,
            0.066986
          ],
          "expected": "Ein Moment für uns.",
          "observed": "Ein Moment für uns.",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "body",
          "kind": "utility",
          "box": [
            0.070175,
            0.655502,
            0.651515,
            0.047049
          ],
          "expected": "Kleine Momente. Große Nähe.",
          "observed": "Kleine Momente. Große Nähe.",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "cta",
          "kind": "utility",
          "box": [
            0.138756,
            0.73126,
            0.136364,
            0.035088
          ],
          "expected": "Entdecken",
          "observed": "Entdecken",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        }
      ]
    },
    {
      "id": "09",
      "path": "boards/09-print.png",
      "sha256": "a20eda2006ed98495e99fa13c1f308efc4fb139c3fa4a81fb38391300ec0b6c7",
      "reviewer": "/root/personal_context/parent_refs",
      "full_size_viewed": true,
      "enlarged_text_viewed": true,
      "occurrence_inventory_complete": true,
      "declared_visible_text_count": 8,
      "occurrences": [
        {
          "id": "number",
          "kind": "label",
          "box": [
            0.835726,
            0.025518,
            0.043062,
            0.029506
          ],
          "expected": "09",
          "observed": "09",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "section",
          "kind": "label",
          "box": [
            0.835726,
            0.061404,
            0.077352,
            0.031898
          ],
          "expected": "Print",
          "observed": "Print",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "front-campaign",
          "kind": "campaign_name",
          "box": [
            0.162679,
            0.279904,
            0.203349,
            0.038278
          ],
          "expected": "Weltstillwoche",
          "observed": "Weltstillwoche",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "front-headline",
          "kind": "headline",
          "box": [
            0.051834,
            0.338915,
            0.429825,
            0.240032
          ],
          "expected": "Nähe, die bleibt.",
          "observed": "Nähe, die bleibt.",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "back-campaign",
          "kind": "campaign_name",
          "box": [
            0.6563,
            0.279904,
            0.165072,
            0.03429
          ],
          "expected": "Weltstillwoche",
          "observed": "Weltstillwoche",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "back-heading",
          "kind": "headline",
          "box": [
            0.559011,
            0.322967,
            0.361244,
            0.129984
          ],
          "expected": "Ein Moment für uns.",
          "observed": "Ein Moment für uns.",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "front-label",
          "kind": "label",
          "box": [
            0.19059,
            0.888357,
            0.148325,
            0.029506
          ],
          "expected": "Vorderseite",
          "observed": "Vorderseite",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "back-label",
          "kind": "label",
          "box": [
            0.680223,
            0.937799,
            0.118022,
            0.028708
          ],
          "expected": "Rückseite",
          "observed": "Rückseite",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        }
      ]
    },
    {
      "id": "10",
      "path": "boards/10-toolkit.png",
      "sha256": "e8735b096fc031367b8749ef61eead4fc2201af342361f93e665775de2eec738",
      "reviewer": "/root/personal_context/parent_refs",
      "full_size_viewed": true,
      "enlarged_text_viewed": true,
      "occurrence_inventory_complete": true,
      "declared_visible_text_count": 13,
      "occurrences": [
        {
          "id": "number",
          "kind": "label",
          "box": [
            0.770335,
            0.019139,
            0.047847,
            0.038278
          ],
          "expected": "10",
          "observed": "10",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "section",
          "kind": "label",
          "box": [
            0.774322,
            0.057416,
            0.207337,
            0.029506
          ],
          "expected": "Werkzeugkasten",
          "observed": "Werkzeugkasten",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "logo-label",
          "kind": "label",
          "box": [
            0.041467,
            0.221691,
            0.092504,
            0.039075
          ],
          "expected": "Logo",
          "observed": "Logo",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "campaign",
          "kind": "campaign_name",
          "box": [
            0.043062,
            0.517544,
            0.335726,
            0.052632
          ],
          "expected": "Weltstillwoche",
          "observed": "Weltstillwoche",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "type-label",
          "kind": "label",
          "box": [
            0.422648,
            0.220893,
            0.168262,
            0.039872
          ],
          "expected": "Typografie",
          "observed": "Typografie",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "headline",
          "kind": "headline",
          "box": [
            0.409091,
            0.278309,
            0.563796,
            0.276715
          ],
          "expected": "Nähe, die bleibt.",
          "observed": "Nähe, die bleibt.",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "material-label",
          "kind": "label",
          "box": [
            0.041467,
            0.606858,
            0.132376,
            0.03429
          ],
          "expected": "Material",
          "observed": "Material",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "linen-label",
          "kind": "label",
          "box": [
            0.035088,
            0.770335,
            0.074163,
            0.024721
          ],
          "expected": "Leinen",
          "observed": "Leinen",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "porcelain-label",
          "kind": "label",
          "box": [
            0.035088,
            0.924242,
            0.100478,
            0.026316
          ],
          "expected": "Porzellan",
          "observed": "Porzellan",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "motif-label",
          "kind": "label",
          "box": [
            0.358852,
            0.605263,
            0.100478,
            0.035088
          ],
          "expected": "Motiv",
          "observed": "Motiv",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "surface-label",
          "kind": "label",
          "box": [
            0.69059,
            0.606061,
            0.168262,
            0.03429
          ],
          "expected": "Oberfläche",
          "observed": "Oberfläche",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "light-cta",
          "kind": "utility",
          "box": [
            0.769537,
            0.708931,
            0.10925,
            0.026316
          ],
          "expected": "Entdecken",
          "observed": "Entdecken",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        },
        {
          "id": "dark-cta",
          "kind": "utility",
          "box": [
            0.769537,
            0.85327,
            0.110048,
            0.025518
          ],
          "expected": "Entdecken",
          "observed": "Entdecken",
          "visual_checked": true,
          "cropped_or_occluded": false,
          "status": "pass"
        }
      ]
    }
  ],
  "scope_note": "101 visible occurrences reviewed at full size and enlarged regions by named agents; root and release agent also viewed all ten final boards. This records copy, not production placement geometry or pixel-identical logo fidelity."
}

logo-generation.json

qa/logo-generation.json

JSON · 73,450 B

Pokaż treść
{
  "scope": "33 native transparent release PNGs; approved localizations; root-owned brandkit boards excluded",
  "records": [
    {
      "job_index": 1,
      "id": "release-de-at-light",
      "locale": "de-at",
      "asset_mode": "light",
      "approved_wordmark": "Weltstillwoche",
      "approved_lines": [
        "Weltstillwoche"
      ],
      "approved_source": "/workspace/scratch/940ebd499e62/attachments/bac1a885-f407-4b24-97ee-3df92fc4f360/image.png",
      "approved_source_sha256": "75d44618488955f588cd608383279656efb465db32426c31ede9e52032660126",
      "native_output": "/workspace/scratch/940ebd499e62/generated_images/exec-e0e18e3f-ff7b-4b6b-ae02-c505ae694d1e.png",
      "native_output_sha256": "05e606432fc7845858a9a00107fe2d1bfecd02d2cefdeb9d2678ccf1e5b39005",
      "actual_payload": "creative/payloads/logos/release-de-at-light.json",
      "actual_prompt_sha256": "962f145c43a1af56a94fed95d857f3d9b45c890e9c6f83e0c0480b1b9079135c",
      "native_transparent_background": true,
      "qa_status": "pass",
      "alpha": {
        "mode": "RGBA",
        "size": [
          1254,
          1254
        ],
        "min": 0,
        "max": 255,
        "zero_fraction": 0.8265359462161276,
        "partial_fraction": 0.17065963080820798
      },
      "pixel_perfect_identity": false,
      "exact_rendered_hex_claimed": false,
      "package_path": "assets/logos/de-at/light.png",
      "qa_evidence": {
        "reviewer": "/root/color_payloads/logo_release_qa",
        "method": "Informed visual comparison of every native original plus correct alpha compositing over white and #251330. Source typography, exact visible copy, prescribed lines, both eye marks, palette roles, 3D depth where applicable inspected.",
        "full_png_decode": "pass",
        "alpha_range": [
          0,
          255
        ],
        "significant_alpha_bbox": [
          92,
          233,
          1172,
          1059
        ],
        "significant_content_min_margin_px": 82
      },
      "original_runtime_payload": "/workspace/scratch/940ebd499e62/weltstillwoche-release/prepared/payload-0001.json",
      "prompt_path": "creative/prompts/logos/release-de-at-light.txt",
      "approved_source_packaged": "sources/identity-originals/de-at.png"
    },
    {
      "job_index": 2,
      "id": "release-de-at-dark",
      "locale": "de-at",
      "asset_mode": "dark",
      "approved_wordmark": "Weltstillwoche",
      "approved_lines": [
        "Weltstillwoche"
      ],
      "approved_source": "/workspace/scratch/940ebd499e62/attachments/bac1a885-f407-4b24-97ee-3df92fc4f360/image.png",
      "approved_source_sha256": "75d44618488955f588cd608383279656efb465db32426c31ede9e52032660126",
      "native_output": "/workspace/scratch/940ebd499e62/generated_images/exec-e9201d88-4e46-4310-a22a-a09dfc464493.png",
      "native_output_sha256": "88539148f5b79e204e9733eda7bd98d3c1d775f5d9e56c05fe29b384b4a55bc4",
      "actual_payload": "creative/payloads/logos/release-de-at-dark.json",
      "actual_prompt_sha256": "94f3ae35c67b547283a89c9686891c93a4d421fb49b319ebf6ed06c83e4e29ea",
      "native_transparent_background": true,
      "qa_status": "pass",
      "alpha": {
        "mode": "RGBA",
        "size": [
          1254,
          1254
        ],
        "min": 0,
        "max": 255,
        "zero_fraction": 0.8089253145913937,
        "partial_fraction": 0.18791287338252838
      },
      "pixel_perfect_identity": false,
      "exact_rendered_hex_claimed": false,
      "package_path": "assets/logos/de-at/dark.png",
      "qa_evidence": {
        "reviewer": "/root/color_payloads/logo_release_qa",
        "method": "Informed visual comparison of every native original plus correct alpha compositing over white and #251330. Source typography, exact visible copy, prescribed lines, both eye marks, palette roles, 3D depth where applicable inspected.",
        "full_png_decode": "pass",
        "alpha_range": [
          0,
          255
        ],
        "significant_alpha_bbox": [
          79,
          225,
          1189,
          1079
        ],
        "significant_content_min_margin_px": 65
      },
      "original_runtime_payload": "/workspace/scratch/940ebd499e62/weltstillwoche-release/prepared-v2/payload-0002.json",
      "prompt_path": "creative/prompts/logos/release-de-at-dark.txt",
      "approved_source_packaged": "sources/identity-originals/de-at.png"
    },
    {
      "job_index": 3,
      "id": "release-de-at-full-3d",
      "locale": "de-at",
      "asset_mode": "full-3d",
      "approved_wordmark": "Weltstillwoche",
      "approved_lines": [
        "Weltstillwoche"
      ],
      "approved_source": "/workspace/scratch/940ebd499e62/attachments/bac1a885-f407-4b24-97ee-3df92fc4f360/image.png",
      "approved_source_sha256": "75d44618488955f588cd608383279656efb465db32426c31ede9e52032660126",
      "native_output": "/workspace/scratch/940ebd499e62/generated_images/exec-a0eab92f-fb91-4c45-b04e-37ec51769190.png",
      "native_output_sha256": "490cad344f35136a4a71d4a54327a773de2830818cb28c83240b3336c0cfcef1",
      "actual_payload": "creative/payloads/logos/release-de-at-full-3d.json",
      "actual_prompt_sha256": "4fd8f5499f8d1bf1c9b26ffb4b03c9bc97bc7f7a8e487bd7d8b841ba0a58016b",
      "native_transparent_background": true,
      "qa_status": "pass",
      "alpha": {
        "mode": "RGBA",
        "size": [
          1254,
          1254
        ],
        "min": 0,
        "max": 255,
        "zero_fraction": 0.7019674203632904,
        "partial_fraction": 0.2955791864756861
      },
      "pixel_perfect_identity": false,
      "exact_rendered_hex_claimed": false,
      "package_path": "assets/logos/de-at/full-3d.png",
      "qa_evidence": {
        "reviewer": "/root/color_payloads/logo_release_qa",
        "method": "Informed visual comparison of every native original plus correct alpha compositing over white and #251330. Source typography, exact visible copy, prescribed lines, both eye marks, palette roles, 3D depth where applicable inspected.",
        "full_png_decode": "pass",
        "alpha_range": [
          0,
          255
        ],
        "significant_alpha_bbox": [
          53,
          148,
          1207,
          1154
        ],
        "significant_content_min_margin_px": 47
      },
      "original_runtime_payload": "/workspace/scratch/940ebd499e62/weltstillwoche-release/prepared/payload-0003.json",
      "prompt_path": "creative/prompts/logos/release-de-at-full-3d.txt",
      "approved_source_packaged": "sources/identity-originals/de-at.png"
    },
    {
      "job_index": 4,
      "id": "release-pl-light",
      "locale": "pl",
      "asset_mode": "light",
      "approved_wordmark": "Międzynarodowy Tydzień Noszenia & Tydzień Bliskości",
      "approved_lines": [
        "Międzynarodowy",
        "Tydzień Noszenia",
        "& Tydzień Bliskości"
      ],
      "approved_source": "/workspace/scratch/940ebd499e62/generated_images/exec-ab0ad527-5806-4138-8c25-1dfdfa1f01f6.png",
      "approved_source_sha256": "355209916241bf0fade6d42aea7f22f2a7f3622fbace8ad1cc9ed8ce16702da4",
      "native_output": "/workspace/scratch/940ebd499e62/generated_images/exec-ba3d728b-1abb-4874-a5be-5372da3a046c.png",
      "native_output_sha256": "15ce53a2a47cc0687fb2b0573bf056cd507d4940b90f569c48e838293bb773d1",
      "actual_payload": "creative/payloads/logos/release-pl-light.json",
      "actual_prompt_sha256": "a5039a78feab5ecc6effe165448b49e8bd51a0ef8a2934050cefe037ec2b3380",
      "native_transparent_background": true,
      "qa_status": "pass",
      "alpha": {
        "mode": "RGBA",
        "size": [
          1254,
          1254
        ],
        "min": 0,
        "max": 255,
        "zero_fraction": 0.7770203927972752,
        "partial_fraction": 0.21720732889204308
      },
      "pixel_perfect_identity": false,
      "exact_rendered_hex_claimed": false,
      "package_path": "assets/logos/pl/light.png",
      "qa_evidence": {
        "reviewer": "/root/color_payloads/logo_release_qa",
        "method": "Informed visual comparison of every native original plus correct alpha compositing over white and #251330. Source typography, exact visible copy, prescribed lines, both eye marks, palette roles, 3D depth where applicable inspected.",
        "full_png_decode": "pass",
        "alpha_range": [
          0,
          255
        ],
        "significant_alpha_bbox": [
          120,
          136,
          1140,
          1182
        ],
        "significant_content_min_margin_px": 72
      },
      "original_runtime_payload": "/workspace/scratch/940ebd499e62/weltstillwoche-release/prepared-v2/payload-0004.json",
      "prompt_path": "creative/prompts/logos/release-pl-light.txt",
      "approved_source_packaged": "sources/identity-originals/pl.png"
    },
    {
      "job_index": 5,
      "id": "release-pl-dark",
      "locale": "pl",
      "asset_mode": "dark",
      "approved_wordmark": "Międzynarodowy Tydzień Noszenia & Tydzień Bliskości",
      "approved_lines": [
        "Międzynarodowy",
        "Tydzień Noszenia",
        "& Tydzień Bliskości"
      ],
      "approved_source": "/workspace/scratch/940ebd499e62/generated_images/exec-ab0ad527-5806-4138-8c25-1dfdfa1f01f6.png",
      "approved_source_sha256": "355209916241bf0fade6d42aea7f22f2a7f3622fbace8ad1cc9ed8ce16702da4",
      "native_output": "/workspace/scratch/940ebd499e62/generated_images/exec-7a85ed2a-43a5-499f-a3f1-07cad9353e52.png",
      "native_output_sha256": "e2511f87631debae7696d660d3f2997a83274d5e1f5bba2b06860ab3bef9ba17",
      "actual_payload": "creative/payloads/logos/release-pl-dark.json",
      "actual_prompt_sha256": "fabb1f795dd07cc86831bb41e016ce46e0af0442b19eb9286688ef12be5c293b",
      "native_transparent_background": true,
      "qa_status": "pass",
      "alpha": {
        "mode": "RGBA",
        "size": [
          1254,
          1254
        ],
        "min": 0,
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        "zero_fraction": 0.7389902551071023,
        "partial_fraction": 0.255155432440751
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      "pixel_perfect_identity": false,
      "exact_rendered_hex_claimed": false,
      "package_path": "assets/logos/pl/dark.png",
      "qa_evidence": {
        "reviewer": "/root/color_payloads/logo_release_qa",
        "method": "Informed visual comparison of every native original plus correct alpha compositing over white and #251330. Source typography, exact visible copy, prescribed lines, both eye marks, palette roles, 3D depth where applicable inspected.",
        "full_png_decode": "pass",
        "alpha_range": [
          0,
          255
        ],
        "significant_alpha_bbox": [
          122,
          135,
          1139,
          1182
        ],
        "significant_content_min_margin_px": 72
      },
      "original_runtime_payload": "/workspace/scratch/940ebd499e62/weltstillwoche-release/prepared-v2/payload-0005.json",
      "prompt_path": "creative/prompts/logos/release-pl-dark.txt",
      "approved_source_packaged": "sources/identity-originals/pl.png"
    },
    {
      "job_index": 6,
      "id": "release-pl-full-3d",
      "locale": "pl",
      "asset_mode": "full-3d",
      "approved_wordmark": "Międzynarodowy Tydzień Noszenia & Tydzień Bliskości",
      "approved_lines": [
        "Międzynarodowy",
        "Tydzień Noszenia",
        "& Tydzień Bliskości"
      ],
      "approved_source": "/workspace/scratch/940ebd499e62/generated_images/exec-ab0ad527-5806-4138-8c25-1dfdfa1f01f6.png",
      "approved_source_sha256": "355209916241bf0fade6d42aea7f22f2a7f3622fbace8ad1cc9ed8ce16702da4",
      "native_output": "/workspace/scratch/940ebd499e62/generated_images/exec-76998537-ef74-4992-b72f-ec7fa1892e5d.png",
      "native_output_sha256": "78537889f17047af969881cb2086bde6ae88b0a3bedd25da1de0cb3334ff3c03",
      "actual_payload": "creative/payloads/logos/release-pl-full-3d.json",
      "actual_prompt_sha256": "ada746b12aaa18701aa227ef90c07122ecca384840764d26e7b25870446e9c2d",
      "native_transparent_background": true,
      "qa_status": "pass",
      "alpha": {
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        "size": [
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        ],
        "min": 0,
        "max": 255,
        "zero_fraction": 0.642256104230418,
        "partial_fraction": 0.35530258515652624
      },
      "pixel_perfect_identity": false,
      "exact_rendered_hex_claimed": false,
      "package_path": "assets/logos/pl/full-3d.png",
      "qa_evidence": {
        "reviewer": "/root/color_payloads/logo_release_qa",
        "method": "Informed visual comparison of every native original plus correct alpha compositing over white and #251330. Source typography, exact visible copy, prescribed lines, both eye marks, palette roles, 3D depth where applicable inspected.",
        "full_png_decode": "pass",
        "alpha_range": [
          0,
          255
        ],
        "significant_alpha_bbox": [
          76,
          67,
          1183,
          1225
        ],
        "significant_content_min_margin_px": 29
      },
      "original_runtime_payload": "/workspace/scratch/940ebd499e62/weltstillwoche-release/prepared-v2/payload-0006.json",
      "prompt_path": "creative/prompts/logos/release-pl-full-3d.txt",
      "approved_source_packaged": "sources/identity-originals/pl.png"
    },
    {
      "job_index": 7,
      "id": "release-nl-light",
      "locale": "nl",
      "asset_mode": "light",
      "approved_wordmark": "Landelijke Borstvoedingsweek",
      "approved_lines": [
        "Landelijke",
        "Borstvoedingsweek"
      ],
      "approved_source": "/workspace/scratch/940ebd499e62/generated_images/exec-c5c1c066-8f41-4139-a99d-6cbb2e0eb548.png",
      "approved_source_sha256": "cfb3f2bf93746789594218978e027a5e6d5650318df948f57918ce6678451625",
      "native_output": "/workspace/scratch/940ebd499e62/generated_images/exec-257bdada-2aa0-45c4-bf9e-7779a1505590.png",
      "native_output_sha256": "8fa5a5475c3228dfc968c7275ca04c8bad6f43fc2691692595ba2d000362d2ae",
      "actual_payload": "creative/payloads/logos/release-nl-light.json",
      "actual_prompt_sha256": "7cb07162653a6e7c17b30478a227eec3e58d4d0557e3e3aa53ab5d8316762601",
      "native_transparent_background": true,
      "qa_status": "pass",
      "alpha": {
        "mode": "RGBA",
        "size": [
          1254,
          1254
        ],
        "min": 0,
        "max": 255,
        "zero_fraction": 0.8228132495949166,
        "partial_fraction": 0.1732389368375266
      },
      "pixel_perfect_identity": false,
      "exact_rendered_hex_claimed": false,
      "package_path": "assets/logos/nl/light.png",
      "qa_evidence": {
        "reviewer": "/root/color_payloads/logo_release_qa",
        "method": "Informed visual comparison of every native original plus correct alpha compositing over white and #251330. Source typography, exact visible copy, prescribed lines, both eye marks, palette roles, 3D depth where applicable inspected.",
        "full_png_decode": "pass",
        "alpha_range": [
          0,
          255
        ],
        "significant_alpha_bbox": [
          96,
          224,
          1162,
          1128
        ],
        "significant_content_min_margin_px": 92
      },
      "original_runtime_payload": "/workspace/scratch/940ebd499e62/weltstillwoche-release/prepared-v2/payload-0007.json",
      "prompt_path": "creative/prompts/logos/release-nl-light.txt",
      "approved_source_packaged": "sources/identity-originals/nl.png"
    },
    {
      "job_index": 8,
      "id": "release-nl-dark",
      "locale": "nl",
      "asset_mode": "dark",
      "approved_wordmark": "Landelijke Borstvoedingsweek",
      "approved_lines": [
        "Landelijke",
        "Borstvoedingsweek"
      ],
      "approved_source": "/workspace/scratch/940ebd499e62/generated_images/exec-c5c1c066-8f41-4139-a99d-6cbb2e0eb548.png",
      "approved_source_sha256": "cfb3f2bf93746789594218978e027a5e6d5650318df948f57918ce6678451625",
      "native_output": "/workspace/scratch/940ebd499e62/generated_images/exec-9e61e919-47a8-4e6c-841d-ceed7b1a7086.png",
      "native_output_sha256": "a4730b5250f6c9db7037f6fa72dbcb0660c72574dedf324c963b6c8fbb1e899d",
      "actual_payload": "creative/payloads/logos/release-nl-dark.json",
      "actual_prompt_sha256": "3c3f8a4416b9719341463b6caaad150f1fafd3b430caa6d40079b70ac7acbdc2",
      "native_transparent_background": true,
      "qa_status": "pass",
      "alpha": {
        "mode": "RGBA",
        "size": [
          1254,
          1254
        ],
        "min": 0,
        "max": 255,
        "zero_fraction": 0.756185628635893,
        "partial_fraction": 0.23939406657865483
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      "pixel_perfect_identity": false,
      "exact_rendered_hex_claimed": false,
      "package_path": "assets/logos/nl/dark.png",
      "qa_evidence": {
        "reviewer": "/root/color_payloads/logo_release_qa",
        "method": "Informed visual comparison of every native original plus correct alpha compositing over white and #251330. Source typography, exact visible copy, prescribed lines, both eye marks, palette roles, 3D depth where applicable inspected.",
        "full_png_decode": "pass",
        "alpha_range": [
          0,
          255
        ],
        "significant_alpha_bbox": [
          66,
          120,
          1189,
          1158
        ],
        "significant_content_min_margin_px": 65
      },
      "original_runtime_payload": "/workspace/scratch/940ebd499e62/weltstillwoche-release/prepared-v2/payload-0008.json",
      "prompt_path": "creative/prompts/logos/release-nl-dark.txt",
      "approved_source_packaged": "sources/identity-originals/nl.png"
    },
    {
      "job_index": 9,
      "id": "release-nl-full-3d",
      "locale": "nl",
      "asset_mode": "full-3d",
      "approved_wordmark": "Landelijke Borstvoedingsweek",
      "approved_lines": [
        "Landelijke",
        "Borstvoedingsweek"
      ],
      "approved_source": "/workspace/scratch/940ebd499e62/generated_images/exec-c5c1c066-8f41-4139-a99d-6cbb2e0eb548.png",
      "approved_source_sha256": "cfb3f2bf93746789594218978e027a5e6d5650318df948f57918ce6678451625",
      "native_output": "/workspace/scratch/940ebd499e62/generated_images/exec-9eae6f59-97c9-4f4e-b602-c18b00c731ac.png",
      "native_output_sha256": "0164b799a63287a6302c8d5c710d4e658ee18c829bb5fab757a997a3ad026dba",
      "actual_payload": "creative/payloads/logos/release-nl-full-3d.json",
      "actual_prompt_sha256": "55f5cad844d32f739fa2e8c9b2d89ffe1759c5b8f01f2d1bc1f07989cc8843e1",
      "native_transparent_background": true,
      "qa_status": "pass",
      "alpha": {
        "mode": "RGBA",
        "size": [
          1254,
          1254
        ],
        "min": 0,
        "max": 255,
        "zero_fraction": 0.6975458437306838,
        "partial_fraction": 0.2998767580107293
      },
      "pixel_perfect_identity": false,
      "exact_rendered_hex_claimed": false,
      "package_path": "assets/logos/nl/full-3d.png",
      "qa_evidence": {
        "reviewer": "/root/color_payloads/logo_release_qa",
        "method": "Informed visual comparison of every native original plus correct alpha compositing over white and #251330. Source typography, exact visible copy, prescribed lines, both eye marks, palette roles, 3D depth where applicable inspected.",
        "full_png_decode": "pass",
        "alpha_range": [
          0,
          255
        ],
        "significant_alpha_bbox": [
          62,
          120,
          1205,
          1206
        ],
        "significant_content_min_margin_px": 48
      },
      "original_runtime_payload": "/workspace/scratch/940ebd499e62/weltstillwoche-release/prepared-v2/payload-0009.json",
      "prompt_path": "creative/prompts/logos/release-nl-full-3d.txt",
      "approved_source_packaged": "sources/identity-originals/nl.png"
    },
    {
      "job_index": 10,
      "id": "release-pt-light",
      "locale": "pt",
      "asset_mode": "light",
      "approved_wordmark": "Semana Mundial do Aleitamento Materno",
      "approved_lines": [
        "Semana Mundial",
        "do Aleitamento Materno"
      ],
      "approved_source": "/workspace/scratch/940ebd499e62/generated_images/exec-d1a3730f-c12d-4002-bf6a-426d2ea199ea.png",
      "approved_source_sha256": "17e639b0329c0a573e87eb5dec2a5638729df10a32a907b45f2a29f10f44b933",
      "native_output": "/workspace/scratch/940ebd499e62/generated_images/exec-ed186e85-2abf-4cf8-b324-a97cc2a91089.png",
      "native_output_sha256": "33eb7cd049f0c8aebdead68da43ab65fb165d554ae1378c22bb6cebe8cd8141d",
      "actual_payload": "creative/payloads/logos/release-pt-light.json",
      "actual_prompt_sha256": "7bd204459a2d0e1ca228719884645a27caa9e6e5cb96a9f820e44a663e4087db",
      "native_transparent_background": true,
      "qa_status": "pass",
      "alpha": {
        "mode": "RGBA",
        "size": [
          1254,
          1254
        ],
        "min": 0,
        "max": 255,
        "zero_fraction": 0.8212895767038301,
        "partial_fraction": 0.17477024081154025
      },
      "pixel_perfect_identity": false,
      "exact_rendered_hex_claimed": false,
      "package_path": "assets/logos/pt/light.png",
      "qa_evidence": {
        "reviewer": "/root/color_payloads/logo_release_qa",
        "method": "Informed visual comparison of every native original plus correct alpha compositing over white and #251330. Source typography, exact visible copy, prescribed lines, both eye marks, palette roles, 3D depth where applicable inspected.",
        "full_png_decode": "pass",
        "alpha_range": [
          0,
          255
        ],
        "significant_alpha_bbox": [
          70,
          229,
          1192,
          1082
        ],
        "significant_content_min_margin_px": 62
      },
      "original_runtime_payload": "/workspace/scratch/940ebd499e62/weltstillwoche-release/prepared-v2/payload-0010.json",
      "prompt_path": "creative/prompts/logos/release-pt-light.txt",
      "approved_source_packaged": "sources/identity-originals/pt.png"
    },
    {
      "job_index": 11,
      "id": "release-pt-dark",
      "locale": "pt",
      "asset_mode": "dark",
      "approved_wordmark": "Semana Mundial do Aleitamento Materno",
      "approved_lines": [
        "Semana Mundial",
        "do Aleitamento Materno"
      ],
      "approved_source": "/workspace/scratch/940ebd499e62/generated_images/exec-d1a3730f-c12d-4002-bf6a-426d2ea199ea.png",
      "approved_source_sha256": "17e639b0329c0a573e87eb5dec2a5638729df10a32a907b45f2a29f10f44b933",
      "native_output": "/workspace/scratch/940ebd499e62/generated_images/exec-37b4e532-c335-4617-99e0-4a4500688bec.png",
      "native_output_sha256": "7102c6248f594daf3ef96c467cd14ba59a2bd7430885bbe0d41a4b6a207c613d",
      "actual_payload": "creative/payloads/logos/release-pt-dark.json",
      "actual_prompt_sha256": "430057c1fd82a5ca58e6e5e6341328c73eeec11f9ea4377302be37fc4cff412d",
      "native_transparent_background": true,
      "qa_status": "pass",
      "alpha": {
        "mode": "RGBA",
        "size": [
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          1254
        ],
        "min": 0,
        "max": 255,
        "zero_fraction": 0.7834661141762628,
        "partial_fraction": 0.21257335378463557
      },
      "pixel_perfect_identity": false,
      "exact_rendered_hex_claimed": false,
      "package_path": "assets/logos/pt/dark.png",
      "qa_evidence": {
        "reviewer": "/root/color_payloads/logo_release_qa",
        "method": "Informed visual comparison of every native original plus correct alpha compositing over white and #251330. Source typography, exact visible copy, prescribed lines, both eye marks, palette roles, 3D depth where applicable inspected.",
        "full_png_decode": "pass",
        "alpha_range": [
          0,
          255
        ],
        "significant_alpha_bbox": [
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          211,
          1210,
          1098
        ],
        "significant_content_min_margin_px": 44
      },
      "original_runtime_payload": "/workspace/scratch/940ebd499e62/weltstillwoche-release/prepared-v2/payload-0011.json",
      "prompt_path": "creative/prompts/logos/release-pt-dark.txt",
      "approved_source_packaged": "sources/identity-originals/pt.png"
    },
    {
      "job_index": 12,
      "id": "release-pt-full-3d",
      "locale": "pt",
      "asset_mode": "full-3d",
      "approved_wordmark": "Semana Mundial do Aleitamento Materno",
      "approved_lines": [
        "Semana Mundial",
        "do Aleitamento Materno"
      ],
      "approved_source": "/workspace/scratch/940ebd499e62/generated_images/exec-d1a3730f-c12d-4002-bf6a-426d2ea199ea.png",
      "approved_source_sha256": "17e639b0329c0a573e87eb5dec2a5638729df10a32a907b45f2a29f10f44b933",
      "native_output": "/workspace/scratch/940ebd499e62/generated_images/exec-168ec629-3bef-4249-a3a5-3b30aa1c8db5.png",
      "native_output_sha256": "8db79cc09b3a118a85eb663e2d02aabf3c384ff22f359f455bc1625b9c266cb1",
      "actual_payload": "creative/payloads/logos/release-pt-full-3d.json",
      "actual_prompt_sha256": "44eaf3df1026e2baf7491e73fc0eb90fc2cb3248dd7705b2f10ecad4c392d016",
      "native_transparent_background": true,
      "qa_status": "pass",
      "alpha": {
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        "size": [
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          1254
        ],
        "min": 0,
        "max": 255,
        "zero_fraction": 0.7116054781000638,
        "partial_fraction": 0.2854584627437813
      },
      "pixel_perfect_identity": false,
      "exact_rendered_hex_claimed": false,
      "package_path": "assets/logos/pt/full-3d.png",
      "qa_evidence": {
        "reviewer": "/root/color_payloads/logo_release_qa",
        "method": "Informed visual comparison of every native original plus correct alpha compositing over white and #251330. Source typography, exact visible copy, prescribed lines, both eye marks, palette roles, 3D depth where applicable inspected.",
        "full_png_decode": "pass",
        "alpha_range": [
          0,
          255
        ],
        "significant_alpha_bbox": [
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          166,
          1238,
          1142
        ],
        "significant_content_min_margin_px": 16
      },
      "original_runtime_payload": "/workspace/scratch/940ebd499e62/weltstillwoche-release/prepared-v2/payload-0012.json",
      "prompt_path": "creative/prompts/logos/release-pt-full-3d.txt",
      "approved_source_packaged": "sources/identity-originals/pt.png"
    },
    {
      "job_index": 13,
      "id": "release-eu-light",
      "locale": "eu",
      "asset_mode": "light",
      "approved_wordmark": "International Breastfeeding Week",
      "approved_lines": [
        "International",
        "Breastfeeding Week"
      ],
      "approved_source": "/workspace/scratch/940ebd499e62/generated_images/exec-b1709614-9644-4f3a-9549-e8fa1e67347c.png",
      "approved_source_sha256": "478ec58b69540a1f152963951a37be0f2433965b5b398e645c23b27e440422bb",
      "native_output": "/workspace/scratch/940ebd499e62/generated_images/exec-e7dcb65e-989a-4f8e-a1c5-b7e4044a6697.png",
      "native_output_sha256": "e90dfb73341af3a1ee25c359297b10c100547457d1a172b23bc65d12d7d43d4b",
      "actual_payload": "creative/payloads/logos/release-eu-light.json",
      "actual_prompt_sha256": "d30da663095283debc52e54f835408c83411646d3fe90f4bf621fd5260e69d15",
      "native_transparent_background": true,
      "qa_status": "pass",
      "alpha": {
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        "size": [
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          1254
        ],
        "min": 0,
        "max": 255,
        "zero_fraction": 0.7716411152573328,
        "partial_fraction": 0.22506034914748085
      },
      "pixel_perfect_identity": false,
      "exact_rendered_hex_claimed": false,
      "package_path": "assets/logos/eu/light.png",
      "qa_evidence": {
        "reviewer": "/root/color_payloads/logo_release_qa",
        "method": "Informed visual comparison of every native original plus correct alpha compositing over white and #251330. Source typography, exact visible copy, prescribed lines, both eye marks, palette roles, 3D depth where applicable inspected.",
        "full_png_decode": "pass",
        "alpha_range": [
          0,
          255
        ],
        "significant_alpha_bbox": [
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          199,
          1175,
          1216
        ],
        "significant_content_min_margin_px": 38
      },
      "original_runtime_payload": "/workspace/scratch/940ebd499e62/weltstillwoche-release/prepared-v2/payload-0013.json",
      "prompt_path": "creative/prompts/logos/release-eu-light.txt",
      "approved_source_packaged": "sources/identity-originals/eu.png"
    },
    {
      "job_index": 14,
      "id": "release-eu-dark",
      "locale": "eu",
      "asset_mode": "dark",
      "approved_wordmark": "International Breastfeeding Week",
      "approved_lines": [
        "International",
        "Breastfeeding Week"
      ],
      "approved_source": "/workspace/scratch/940ebd499e62/generated_images/exec-b1709614-9644-4f3a-9549-e8fa1e67347c.png",
      "approved_source_sha256": "478ec58b69540a1f152963951a37be0f2433965b5b398e645c23b27e440422bb",
      "native_output": "/workspace/scratch/940ebd499e62/generated_images/exec-f893477c-9e14-4954-89e6-a4502533d08f.png",
      "native_output_sha256": "fbdef21a24558b45be8c26e9cc71126a9f932614cd00220de9c2660d1531e8d0",
      "actual_payload": "creative/payloads/logos/release-eu-dark.json",
      "actual_prompt_sha256": "a8123a9d75e35f9724f987d18d931f7215f9846190c3a61d2f1907500683e814",
      "native_transparent_background": true,
      "qa_status": "pass",
      "alpha": {
        "mode": "RGBA",
        "size": [
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          1254
        ],
        "min": 0,
        "max": 255,
        "zero_fraction": 0.769063716998746,
        "partial_fraction": 0.22629849235238306
      },
      "pixel_perfect_identity": false,
      "exact_rendered_hex_claimed": false,
      "package_path": "assets/logos/eu/dark.png",
      "qa_evidence": {
        "reviewer": "/root/color_payloads/logo_release_qa",
        "method": "Informed visual comparison of every native original plus correct alpha compositing over white and #251330. Source typography, exact visible copy, prescribed lines, both eye marks, palette roles, 3D depth where applicable inspected.",
        "full_png_decode": "pass",
        "alpha_range": [
          0,
          255
        ],
        "significant_alpha_bbox": [
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          214,
          1211,
          1179
        ],
        "significant_content_min_margin_px": 43
      },
      "original_runtime_payload": "/workspace/scratch/940ebd499e62/weltstillwoche-release/prepared-v2/payload-0014.json",
      "prompt_path": "creative/prompts/logos/release-eu-dark.txt",
      "approved_source_packaged": "sources/identity-originals/eu.png"
    },
    {
      "job_index": 15,
      "id": "release-eu-full-3d",
      "locale": "eu",
      "asset_mode": "full-3d",
      "approved_wordmark": "International Breastfeeding Week",
      "approved_lines": [
        "International",
        "Breastfeeding Week"
      ],
      "approved_source": "/workspace/scratch/940ebd499e62/generated_images/exec-b1709614-9644-4f3a-9549-e8fa1e67347c.png",
      "approved_source_sha256": "478ec58b69540a1f152963951a37be0f2433965b5b398e645c23b27e440422bb",
      "native_output": "/workspace/scratch/940ebd499e62/generated_images/exec-e5e6896f-0c27-4549-9fb4-a4e4812f603e.png",
      "native_output_sha256": "af8417ca06c0154ed4da4f81f92837d78ad6c5ee7368127be6ba5e13ee8985f3",
      "actual_payload": "creative/payloads/logos/release-eu-full-3d.json",
      "actual_prompt_sha256": "c48e774bdb451f73bd30524ba0cb450c58d8c0902e80c370969085a28bb20a6b",
      "native_transparent_background": true,
      "qa_status": "pass",
      "alpha": {
        "mode": "RGBA",
        "size": [
          1254,
          1254
        ],
        "min": 0,
        "max": 255,
        "zero_fraction": 0.6963623899534249,
        "partial_fraction": 0.30093811446115654
      },
      "pixel_perfect_identity": false,
      "exact_rendered_hex_claimed": false,
      "package_path": "assets/logos/eu/full-3d.png",
      "qa_evidence": {
        "reviewer": "/root/color_payloads/logo_release_qa",
        "method": "Informed visual comparison of every native original plus correct alpha compositing over white and #251330. Source typography, exact visible copy, prescribed lines, both eye marks, palette roles, 3D depth where applicable inspected.",
        "full_png_decode": "pass",
        "alpha_range": [
          0,
          255
        ],
        "significant_alpha_bbox": [
          58,
          120,
          1203,
          1180
        ],
        "significant_content_min_margin_px": 51
      },
      "original_runtime_payload": "/workspace/scratch/940ebd499e62/weltstillwoche-release/prepared-v2/payload-0015.json",
      "prompt_path": "creative/prompts/logos/release-eu-full-3d.txt",
      "approved_source_packaged": "sources/identity-originals/eu.png"
    },
    {
      "job_index": 16,
      "id": "release-it-light",
      "locale": "it",
      "asset_mode": "light",
      "approved_wordmark": "SAM – Settimana Mondiale per l'Allattamento Materno",
      "approved_lines": [
        "SAM – Settimana Mondiale",
        "per l'Allattamento Materno"
      ],
      "approved_source": "/workspace/scratch/940ebd499e62/generated_images/exec-a9f91e4a-39bb-4661-92cc-67008439c18a.png",
      "approved_source_sha256": "b15139839a3891340a8f6cbad68e0b058eb2f6e9919e06a8f67a706ff159c0b2",
      "native_output": "/workspace/scratch/940ebd499e62/generated_images/exec-e365768c-632f-42bd-b1da-ee7615abaafe.png",
      "native_output_sha256": "6abd76999778a3927a211faef2a9a3f45eeaf0edea45d5f772ccfde3cba39809",
      "actual_payload": "creative/payloads/logos/release-it-light.json",
      "actual_prompt_sha256": "a95b082206eda4fb6d452a209a3a44dcc52d4f71acaf01674c6e0f336aaac6da",
      "native_transparent_background": true,
      "qa_status": "pass",
      "alpha": {
        "mode": "RGBA",
        "size": [
          1254,
          1254
        ],
        "min": 0,
        "max": 255,
        "zero_fraction": 0.81309506548741,
        "partial_fraction": 0.18240641112713638
      },
      "pixel_perfect_identity": false,
      "exact_rendered_hex_claimed": false,
      "package_path": "assets/logos/it/light.png",
      "qa_evidence": {
        "reviewer": "/root/color_payloads/logo_release_qa",
        "method": "Informed visual comparison of every native original plus correct alpha compositing over white and #251330. Source typography, exact visible copy, prescribed lines, both eye marks, palette roles, 3D depth where applicable inspected.",
        "full_png_decode": "pass",
        "alpha_range": [
          0,
          255
        ],
        "significant_alpha_bbox": [
          82,
          221,
          1172,
          1111
        ],
        "significant_content_min_margin_px": 82
      },
      "original_runtime_payload": "/workspace/scratch/940ebd499e62/weltstillwoche-release/prepared-v2/payload-0016.json",
      "prompt_path": "creative/prompts/logos/release-it-light.txt",
      "approved_source_packaged": "sources/identity-originals/it.png"
    },
    {
      "job_index": 17,
      "id": "release-it-dark",
      "locale": "it",
      "asset_mode": "dark",
      "approved_wordmark": "SAM – Settimana Mondiale per l'Allattamento Materno",
      "approved_lines": [
        "SAM – Settimana Mondiale",
        "per l'Allattamento Materno"
      ],
      "approved_source": "/workspace/scratch/940ebd499e62/generated_images/exec-a9f91e4a-39bb-4661-92cc-67008439c18a.png",
      "approved_source_sha256": "b15139839a3891340a8f6cbad68e0b058eb2f6e9919e06a8f67a706ff159c0b2",
      "native_output": "/workspace/scratch/940ebd499e62/generated_images/exec-b5bb5ad5-70fa-4bd9-91da-37e776037b45.png",
      "native_output_sha256": "b67cd41e5bbf251c521dadfc2a7a86dee2f27f6c00c223e63a6ca40cc9046b26",
      "actual_payload": "creative/payloads/logos/release-it-dark.json",
      "actual_prompt_sha256": "989c79d5d2965909c59057897a1d907347443cfc6f2d70ad610da6a4d19b5e46",
      "native_transparent_background": true,
      "qa_status": "pass",
      "alpha": {
        "mode": "RGBA",
        "size": [
          1254,
          1254
        ],
        "min": 0,
        "max": 255,
        "zero_fraction": 0.7437317012990646,
        "partial_fraction": 0.25172844028296054
      },
      "pixel_perfect_identity": false,
      "exact_rendered_hex_claimed": false,
      "package_path": "assets/logos/it/dark.png",
      "qa_evidence": {
        "reviewer": "/root/color_payloads/logo_release_qa",
        "method": "Informed visual comparison of every native original plus correct alpha compositing over white and #251330. Source typography, exact visible copy, prescribed lines, both eye marks, palette roles, 3D depth where applicable inspected.",
        "full_png_decode": "pass",
        "alpha_range": [
          0,
          255
        ],
        "significant_alpha_bbox": [
          80,
          203,
          1189,
          1192
        ],
        "significant_content_min_margin_px": 62
      },
      "original_runtime_payload": "/workspace/scratch/940ebd499e62/weltstillwoche-release/prepared-v2/payload-0017.json",
      "prompt_path": "creative/prompts/logos/release-it-dark.txt",
      "approved_source_packaged": "sources/identity-originals/it.png"
    },
    {
      "job_index": 18,
      "id": "release-it-full-3d",
      "locale": "it",
      "asset_mode": "full-3d",
      "approved_wordmark": "SAM – Settimana Mondiale per l'Allattamento Materno",
      "approved_lines": [
        "SAM – Settimana Mondiale",
        "per l'Allattamento Materno"
      ],
      "approved_source": "/workspace/scratch/940ebd499e62/generated_images/exec-a9f91e4a-39bb-4661-92cc-67008439c18a.png",
      "approved_source_sha256": "b15139839a3891340a8f6cbad68e0b058eb2f6e9919e06a8f67a706ff159c0b2",
      "native_output": "/workspace/scratch/940ebd499e62/generated_images/exec-113da93d-14cc-4e33-8eab-7fe03ecbaefb.png",
      "native_output_sha256": "7e6dd47ed2b21d09482cbfbc5969455106e78ea99ae31c0b6f01abd32583f329",
      "actual_payload": "creative/payloads/logos/release-it-full-3d.json",
      "actual_prompt_sha256": "28a3814e0df8e81297ddcdc07e15199671744e36421195583f7e39da1031370c",
      "native_transparent_background": true,
      "qa_status": "pass",
      "alpha": {
        "mode": "RGBA",
        "size": [
          1254,
          1254
        ],
        "min": 0,
        "max": 255,
        "zero_fraction": 0.6609986798226536,
        "partial_fraction": 0.33645635402119917
      },
      "pixel_perfect_identity": false,
      "exact_rendered_hex_claimed": false,
      "package_path": "assets/logos/it/full-3d.png",
      "qa_evidence": {
        "reviewer": "/root/color_payloads/logo_release_qa",
        "method": "Informed visual comparison of every native original plus correct alpha compositing over white and #251330. Source typography, exact visible copy, prescribed lines, both eye marks, palette roles, 3D depth where applicable inspected.",
        "full_png_decode": "pass",
        "alpha_range": [
          0,
          255
        ],
        "significant_alpha_bbox": [
          50,
          98,
          1206,
          1198
        ],
        "significant_content_min_margin_px": 48
      },
      "original_runtime_payload": "/workspace/scratch/940ebd499e62/weltstillwoche-release/prepared-v2/payload-0018.json",
      "prompt_path": "creative/prompts/logos/release-it-full-3d.txt",
      "approved_source_packaged": "sources/identity-originals/it.png"
    },
    {
      "job_index": 19,
      "id": "release-be-nl-light",
      "locale": "be-nl",
      "asset_mode": "light",
      "approved_wordmark": "Wereldborstvoedingsweek",
      "approved_lines": [
        "Wereldborstvoedingsweek"
      ],
      "approved_source": "/workspace/scratch/940ebd499e62/generated_images/exec-ebba9526-7973-4646-a738-9e52a032f2f8.png",
      "approved_source_sha256": "6f8d7ba95fc4fc3c4681536907cde30c3832328f147b2a5055b3d74dbcd8fd60",
      "native_output": "/workspace/scratch/940ebd499e62/generated_images/exec-c53a5d8f-cfb7-4a51-8d62-3bd0172601a3.png",
      "native_output_sha256": "334e57303fd460e15e65589cfb392f75c575b22b08865fd2e5529f7d49b14728",
      "actual_payload": "creative/payloads/logos/release-be-nl-light.json",
      "actual_prompt_sha256": "2806356149d620ec20e6db7598124d2451e650f0f3cceca722eebcaa9d5d7d7e",
      "native_transparent_background": true,
      "qa_status": "pass",
      "alpha": {
        "mode": "RGBA",
        "size": [
          1254,
          1254
        ],
        "min": 0,
        "max": 255,
        "zero_fraction": 0.8248831808388595,
        "partial_fraction": 0.17202368688140535
      },
      "pixel_perfect_identity": false,
      "exact_rendered_hex_claimed": false,
      "package_path": "assets/logos/be-nl/light.png",
      "qa_evidence": {
        "reviewer": "/root/color_payloads/logo_release_qa",
        "method": "Informed visual comparison of every native original plus correct alpha compositing over white and #251330. Source typography, exact visible copy, prescribed lines, both eye marks, palette roles, 3D depth where applicable inspected.",
        "full_png_decode": "pass",
        "alpha_range": [
          0,
          255
        ],
        "significant_alpha_bbox": [
          78,
          236,
          1175,
          1079
        ],
        "significant_content_min_margin_px": 78
      },
      "original_runtime_payload": "/workspace/scratch/940ebd499e62/weltstillwoche-release/prepared-v2/payload-0019.json",
      "prompt_path": "creative/prompts/logos/release-be-nl-light.txt",
      "approved_source_packaged": "sources/identity-originals/be-nl.png"
    },
    {
      "job_index": 20,
      "id": "release-be-nl-dark",
      "locale": "be-nl",
      "asset_mode": "dark",
      "approved_wordmark": "Wereldborstvoedingsweek",
      "approved_lines": [
        "Wereldborstvoedingsweek"
      ],
      "approved_source": "/workspace/scratch/940ebd499e62/generated_images/exec-ebba9526-7973-4646-a738-9e52a032f2f8.png",
      "approved_source_sha256": "6f8d7ba95fc4fc3c4681536907cde30c3832328f147b2a5055b3d74dbcd8fd60",
      "native_output": "/workspace/scratch/940ebd499e62/generated_images/exec-66b98b9f-eb95-4a12-b47f-db4669c19b7c.png",
      "native_output_sha256": "a6fb1338a298e3cc6fd939b7381c1e1d37c5d1671524212f2e84fa9019170b5d",
      "actual_payload": "creative/payloads/logos/release-be-nl-dark.json",
      "actual_prompt_sha256": "47dfa961ce6cf0e4ca339d367e8f47339d2c8d93eb95f932e2bb694129651e99",
      "native_transparent_background": true,
      "qa_status": "pass",
      "alpha": {
        "mode": "RGBA",
        "size": [
          1254,
          1254
        ],
        "min": 0,
        "max": 255,
        "zero_fraction": 0.839853457770859,
        "partial_fraction": 0.15664196739492633
      },
      "pixel_perfect_identity": false,
      "exact_rendered_hex_claimed": false,
      "package_path": "assets/logos/be-nl/dark.png",
      "qa_evidence": {
        "reviewer": "/root/color_payloads/logo_release_qa",
        "method": "Informed visual comparison of every native original plus correct alpha compositing over white and #251330. Source typography, exact visible copy, prescribed lines, both eye marks, palette roles, 3D depth where applicable inspected.",
        "full_png_decode": "pass",
        "alpha_range": [
          0,
          255
        ],
        "significant_alpha_bbox": [
          47,
          232,
          1207,
          1039
        ],
        "significant_content_min_margin_px": 47
      },
      "original_runtime_payload": "/workspace/scratch/940ebd499e62/weltstillwoche-release/prepared-v2/payload-0020.json",
      "prompt_path": "creative/prompts/logos/release-be-nl-dark.txt",
      "approved_source_packaged": "sources/identity-originals/be-nl.png"
    },
    {
      "job_index": 21,
      "id": "release-be-nl-full-3d",
      "locale": "be-nl",
      "asset_mode": "full-3d",
      "approved_wordmark": "Wereldborstvoedingsweek",
      "approved_lines": [
        "Wereldborstvoedingsweek"
      ],
      "approved_source": "/workspace/scratch/940ebd499e62/generated_images/exec-ebba9526-7973-4646-a738-9e52a032f2f8.png",
      "approved_source_sha256": "6f8d7ba95fc4fc3c4681536907cde30c3832328f147b2a5055b3d74dbcd8fd60",
      "native_output": "/workspace/scratch/940ebd499e62/generated_images/exec-7b1ce1af-7f3b-4292-b954-a243ad1529ca.png",
      "native_output_sha256": "e0bbd42f6f77b0db2c55c528e5fc7db77b33feb1704cc9d215491e8dff94a857",
      "actual_payload": "creative/payloads/logos/release-be-nl-full-3d.json",
      "actual_prompt_sha256": "295a2f13a0ba88cfcab471c52024e73161dd5da965dda95e04e226c643c7c140",
      "native_transparent_background": true,
      "qa_status": "pass",
      "alpha": {
        "mode": "RGBA",
        "size": [
          1254,
          1254
        ],
        "min": 0,
        "max": 255,
        "zero_fraction": 0.7263512740092947,
        "partial_fraction": 0.2716512900345688
      },
      "pixel_perfect_identity": false,
      "exact_rendered_hex_claimed": false,
      "package_path": "assets/logos/be-nl/full-3d.png",
      "qa_evidence": {
        "reviewer": "/root/color_payloads/logo_release_qa",
        "method": "Informed visual comparison of every native original plus correct alpha compositing over white and #251330. Source typography, exact visible copy, prescribed lines, both eye marks, palette roles, 3D depth where applicable inspected.",
        "full_png_decode": "pass",
        "alpha_range": [
          0,
          255
        ],
        "significant_alpha_bbox": [
          50,
          171,
          1204,
          1152
        ],
        "significant_content_min_margin_px": 50
      },
      "original_runtime_payload": "/workspace/scratch/940ebd499e62/weltstillwoche-release/prepared-v2/payload-0021.json",
      "prompt_path": "creative/prompts/logos/release-be-nl-full-3d.txt",
      "approved_source_packaged": "sources/identity-originals/be-nl.png"
    },
    {
      "job_index": 22,
      "id": "release-be-fr-light",
      "locale": "be-fr",
      "asset_mode": "light",
      "approved_wordmark": "Semaine mondiale de l'allaitement",
      "approved_lines": [
        "Semaine mondiale",
        "de l'allaitement"
      ],
      "approved_source": "/workspace/scratch/940ebd499e62/generated_images/exec-f6441649-16ea-47eb-b85a-4abcf2d030a4.png",
      "approved_source_sha256": "da43fe316705306f0a29ce030f7367de120e770ece7fcdd465a4040d9a636193",
      "native_output": "/workspace/scratch/940ebd499e62/generated_images/exec-b6a775e8-6585-4d52-9e51-bead9741f964.png",
      "native_output_sha256": "58011144fb6e53ab0f013ba68aa7dd29c0eeb14acc3d5c454f16e3da6fa00117",
      "actual_payload": "creative/payloads/logos/release-be-fr-light.json",
      "actual_prompt_sha256": "13a87aa49a23e8f56bee6344b9177dfa5545f531ac5a7172e80136b38116f74c",
      "native_transparent_background": true,
      "qa_status": "pass",
      "alpha": {
        "mode": "RGBA",
        "size": [
          1254,
          1254
        ],
        "min": 0,
        "max": 255,
        "zero_fraction": 0.819026960615981,
        "partial_fraction": 0.1768592497628005
      },
      "pixel_perfect_identity": false,
      "exact_rendered_hex_claimed": false,
      "package_path": "assets/logos/be-fr/light.png",
      "qa_evidence": {
        "reviewer": "/root/color_payloads/logo_release_qa",
        "method": "Informed visual comparison of every native original plus correct alpha compositing over white and #251330. Source typography, exact visible copy, prescribed lines, both eye marks, palette roles, 3D depth where applicable inspected.",
        "full_png_decode": "pass",
        "alpha_range": [
          0,
          255
        ],
        "significant_alpha_bbox": [
          121,
          229,
          1135,
          1107
        ],
        "significant_content_min_margin_px": 119
      },
      "original_runtime_payload": "/workspace/scratch/940ebd499e62/weltstillwoche-release/prepared-v2/payload-0022.json",
      "prompt_path": "creative/prompts/logos/release-be-fr-light.txt",
      "approved_source_packaged": "sources/identity-originals/be-fr.png"
    },
    {
      "job_index": 23,
      "id": "release-be-fr-dark",
      "locale": "be-fr",
      "asset_mode": "dark",
      "approved_wordmark": "Semaine mondiale de l'allaitement",
      "approved_lines": [
        "Semaine mondiale",
        "de l'allaitement"
      ],
      "approved_source": "/workspace/scratch/940ebd499e62/generated_images/exec-f6441649-16ea-47eb-b85a-4abcf2d030a4.png",
      "approved_source_sha256": "da43fe316705306f0a29ce030f7367de120e770ece7fcdd465a4040d9a636193",
      "native_output": "/workspace/scratch/940ebd499e62/generated_images/exec-596a8924-ae84-434a-b42b-75dd54f5983f.png",
      "native_output_sha256": "0811134d44a77debc7f6fb9eb1e7c588b259dd7928e80dd2be9791fff42dca09",
      "actual_payload": "creative/payloads/logos/release-be-fr-dark.json",
      "actual_prompt_sha256": "89a0b063e86dd55a151c03758f788f4a87d8889ab053c8ab50356ef7fd203151",
      "native_transparent_background": true,
      "qa_status": "pass",
      "alpha": {
        "mode": "RGBA",
        "size": [
          1254,
          1254
        ],
        "min": 0,
        "max": 255,
        "zero_fraction": 0.7638071727092125,
        "partial_fraction": 0.23185328479964593
      },
      "pixel_perfect_identity": false,
      "exact_rendered_hex_claimed": false,
      "package_path": "assets/logos/be-fr/dark.png",
      "qa_evidence": {
        "reviewer": "/root/color_payloads/logo_release_qa",
        "method": "Informed visual comparison of every native original plus correct alpha compositing over white and #251330. Source typography, exact visible copy, prescribed lines, both eye marks, palette roles, 3D depth where applicable inspected.",
        "full_png_decode": "pass",
        "alpha_range": [
          0,
          255
        ],
        "significant_alpha_bbox": [
          81,
          221,
          1177,
          1164
        ],
        "significant_content_min_margin_px": 77
      },
      "original_runtime_payload": "/workspace/scratch/940ebd499e62/weltstillwoche-release/prepared-v2/payload-0023.json",
      "prompt_path": "creative/prompts/logos/release-be-fr-dark.txt",
      "approved_source_packaged": "sources/identity-originals/be-fr.png"
    },
    {
      "job_index": 24,
      "id": "release-be-fr-full-3d",
      "locale": "be-fr",
      "asset_mode": "full-3d",
      "approved_wordmark": "Semaine mondiale de l'allaitement",
      "approved_lines": [
        "Semaine mondiale",
        "de l'allaitement"
      ],
      "approved_source": "/workspace/scratch/940ebd499e62/generated_images/exec-f6441649-16ea-47eb-b85a-4abcf2d030a4.png",
      "approved_source_sha256": "da43fe316705306f0a29ce030f7367de120e770ece7fcdd465a4040d9a636193",
      "native_output": "/workspace/scratch/940ebd499e62/generated_images/exec-60fe5878-833f-4b43-9362-ad0c1fe9dec4.png",
      "native_output_sha256": "633109cc252e5206665c54e8d546c8b39ec0acc5d53413efb1d9613f0647d14e",
      "actual_payload": "creative/payloads/logos/release-be-fr-full-3d.json",
      "actual_prompt_sha256": "bd65810e3803ed0a180c0bf3d934b31bce1e384201b9e53871b2ad6d92af43d1",
      "native_transparent_background": true,
      "qa_status": "pass",
      "alpha": {
        "mode": "RGBA",
        "size": [
          1254,
          1254
        ],
        "min": 0,
        "max": 255,
        "zero_fraction": 0.6698710855724203,
        "partial_fraction": 0.3280984104454263
      },
      "pixel_perfect_identity": false,
      "exact_rendered_hex_claimed": false,
      "package_path": "assets/logos/be-fr/full-3d.png",
      "qa_evidence": {
        "reviewer": "/root/color_payloads/logo_release_qa",
        "method": "Informed visual comparison of every native original plus correct alpha compositing over white and #251330. Source typography, exact visible copy, prescribed lines, both eye marks, palette roles, 3D depth where applicable inspected.",
        "full_png_decode": "pass",
        "alpha_range": [
          0,
          255
        ],
        "significant_alpha_bbox": [
          68,
          125,
          1192,
          1177
        ],
        "significant_content_min_margin_px": 62
      },
      "original_runtime_payload": "/workspace/scratch/940ebd499e62/weltstillwoche-release/prepared-v2/payload-0024.json",
      "prompt_path": "creative/prompts/logos/release-be-fr-full-3d.txt",
      "approved_source_packaged": "sources/identity-originals/be-fr.png"
    },
    {
      "job_index": 25,
      "id": "release-uk-light",
      "locale": "uk",
      "asset_mode": "light",
      "approved_wordmark": "International Babywearing Week",
      "approved_lines": [
        "International",
        "Babywearing Week"
      ],
      "approved_source": "/workspace/scratch/940ebd499e62/generated_images/exec-7798c734-7420-48c7-8d16-127419d91c8c.png",
      "approved_source_sha256": "fd690c0c69d4bf9358e29cce1b6b5a6ba977beb6466255786be308050e51dfad",
      "native_output": "/workspace/scratch/940ebd499e62/generated_images/exec-9e00149c-10e0-4f49-84e0-088365b8e9a7.png",
      "native_output_sha256": "b56e087b49ffce2a1a80b32a87327295e5b0fbd23e4cc5fe2fdce1f38b3f1223",
      "actual_payload": "creative/payloads/logos/release-uk-light.json",
      "actual_prompt_sha256": "6fbe433501845d99d31def2de021b8f13bd2f2bdd6c5912677c478dc86ff03e6",
      "native_transparent_background": true,
      "qa_status": "pass",
      "alpha": {
        "mode": "RGBA",
        "size": [
          1254,
          1254
        ],
        "min": 0,
        "max": 255,
        "zero_fraction": 0.7771221405696349,
        "partial_fraction": 0.21817075311157405
      },
      "pixel_perfect_identity": false,
      "exact_rendered_hex_claimed": false,
      "package_path": "assets/logos/uk/light.png",
      "qa_evidence": {
        "reviewer": "/root/color_payloads/logo_release_qa",
        "method": "Informed visual comparison of every native original plus correct alpha compositing over white and #251330. Source typography, exact visible copy, prescribed lines, both eye marks, palette roles, 3D depth where applicable inspected.",
        "full_png_decode": "pass",
        "alpha_range": [
          0,
          255
        ],
        "significant_alpha_bbox": [
          82,
          198,
          1175,
          1187
        ],
        "significant_content_min_margin_px": 67
      },
      "original_runtime_payload": "/workspace/scratch/940ebd499e62/weltstillwoche-release/prepared-v2/payload-0025.json",
      "prompt_path": "creative/prompts/logos/release-uk-light.txt",
      "approved_source_packaged": "sources/identity-originals/uk.png"
    },
    {
      "job_index": 26,
      "id": "release-uk-dark",
      "locale": "uk",
      "asset_mode": "dark",
      "approved_wordmark": "International Babywearing Week",
      "approved_lines": [
        "International",
        "Babywearing Week"
      ],
      "approved_source": "/workspace/scratch/940ebd499e62/generated_images/exec-7798c734-7420-48c7-8d16-127419d91c8c.png",
      "approved_source_sha256": "fd690c0c69d4bf9358e29cce1b6b5a6ba977beb6466255786be308050e51dfad",
      "native_output": "/workspace/scratch/940ebd499e62/generated_images/exec-e325e0fd-3a7b-4fb6-98f7-3aa313ac515f.png",
      "native_output_sha256": "566e15c81973c1f969e4102ff4f0fa6d8321d9af709f2fcb4cd72346110df130",
      "actual_payload": "creative/payloads/logos/release-uk-dark.json",
      "actual_prompt_sha256": "654b12e1a0a92c42019c313648f8895fe54d43e1facf0fcecaa97a75e6d07fe0",
      "native_transparent_background": true,
      "qa_status": "pass",
      "alpha": {
        "mode": "RGBA",
        "size": [
          1254,
          1254
        ],
        "min": 0,
        "max": 255,
        "zero_fraction": 0.7718592370443289,
        "partial_fraction": 0.22365877358322586
      },
      "pixel_perfect_identity": false,
      "exact_rendered_hex_claimed": false,
      "package_path": "assets/logos/uk/dark.png",
      "qa_evidence": {
        "reviewer": "/root/color_payloads/logo_release_qa",
        "method": "Informed visual comparison of every native original plus correct alpha compositing over white and #251330. Source typography, exact visible copy, prescribed lines, both eye marks, palette roles, 3D depth where applicable inspected.",
        "full_png_decode": "pass",
        "alpha_range": [
          0,
          255
        ],
        "significant_alpha_bbox": [
          61,
          207,
          1201,
          1156
        ],
        "significant_content_min_margin_px": 53
      },
      "original_runtime_payload": "/workspace/scratch/940ebd499e62/weltstillwoche-release/prepared-v2/payload-0026.json",
      "prompt_path": "creative/prompts/logos/release-uk-dark.txt",
      "approved_source_packaged": "sources/identity-originals/uk.png"
    },
    {
      "job_index": 27,
      "id": "release-uk-full-3d",
      "locale": "uk",
      "asset_mode": "full-3d",
      "approved_wordmark": "International Babywearing Week",
      "approved_lines": [
        "International",
        "Babywearing Week"
      ],
      "approved_source": "/workspace/scratch/940ebd499e62/generated_images/exec-7798c734-7420-48c7-8d16-127419d91c8c.png",
      "approved_source_sha256": "fd690c0c69d4bf9358e29cce1b6b5a6ba977beb6466255786be308050e51dfad",
      "native_output": "/workspace/scratch/940ebd499e62/generated_images/exec-08ae84bb-20f4-4a2a-85de-79c6f7f98ea6.png",
      "native_output_sha256": "620946ec8de658e4f13b420523f589415e3f8c590dd53f10bbfa485b02d2c6ec",
      "actual_payload": "creative/payloads/logos/release-uk-full-3d.json",
      "actual_prompt_sha256": "aca615c5c62ab5d82c4461881940a25ee7131cba59a5e319a3f5497896994fa6",
      "native_transparent_background": true,
      "qa_status": "pass",
      "alpha": {
        "mode": "RGBA",
        "size": [
          1254,
          1254
        ],
        "min": 0,
        "max": 255,
        "zero_fraction": 0.7235118752368815,
        "partial_fraction": 0.27379498841347244
      },
      "pixel_perfect_identity": false,
      "exact_rendered_hex_claimed": false,
      "package_path": "assets/logos/uk/full-3d.png",
      "qa_evidence": {
        "reviewer": "/root/color_payloads/logo_release_qa",
        "method": "Informed visual comparison of every native original plus correct alpha compositing over white and #251330. Source typography, exact visible copy, prescribed lines, both eye marks, palette roles, 3D depth where applicable inspected.",
        "full_png_decode": "pass",
        "alpha_range": [
          0,
          255
        ],
        "significant_alpha_bbox": [
          66,
          147,
          1208,
          1171
        ],
        "significant_content_min_margin_px": 46
      },
      "original_runtime_payload": "/workspace/scratch/940ebd499e62/weltstillwoche-release/prepared-v2/payload-0027.json",
      "prompt_path": "creative/prompts/logos/release-uk-full-3d.txt",
      "approved_source_packaged": "sources/identity-originals/uk.png"
    },
    {
      "job_index": 28,
      "id": "release-es-light",
      "locale": "es",
      "asset_mode": "light",
      "approved_wordmark": "Semana Mundial de la Lactancia Materna",
      "approved_lines": [
        "Semana Mundial",
        "de la Lactancia Materna"
      ],
      "approved_source": "/workspace/scratch/940ebd499e62/generated_images/exec-08ab2dee-4737-4a48-bafc-77d707dc02ad.png",
      "approved_source_sha256": "fbeb6ecb9ee1450386d48530592474cb65e3daafdae3e79af15cc867716583c4",
      "native_output": "/workspace/scratch/940ebd499e62/generated_images/exec-b958f495-bb63-43e7-968f-3557853a1fbc.png",
      "native_output_sha256": "4c10bbffc3a1c7446d8047bd72712b781fe45c7033af2bd7b23ce28730416e8b",
      "actual_payload": "creative/payloads/logos/release-es-light.json",
      "actual_prompt_sha256": "86d0711ed1c5057f222cf111dcb445c70b9d24b938ba464ea9c1fbbf64a62c94",
      "native_transparent_background": true,
      "qa_status": "pass",
      "alpha": {
        "mode": "RGBA",
        "size": [
          1254,
          1254
        ],
        "min": 0,
        "max": 255,
        "zero_fraction": 0.7898768597585016,
        "partial_fraction": 0.20604051087556502
      },
      "pixel_perfect_identity": false,
      "exact_rendered_hex_claimed": false,
      "package_path": "assets/logos/es/light.png",
      "qa_evidence": {
        "reviewer": "/root/color_payloads/logo_release_qa",
        "method": "Informed visual comparison of every native original plus correct alpha compositing over white and #251330. Source typography, exact visible copy, prescribed lines, both eye marks, palette roles, 3D depth where applicable inspected.",
        "full_png_decode": "pass",
        "alpha_range": [
          0,
          255
        ],
        "significant_alpha_bbox": [
          81,
          209,
          1173,
          1150
        ],
        "significant_content_min_margin_px": 81
      },
      "original_runtime_payload": "/workspace/scratch/940ebd499e62/weltstillwoche-release/prepared-v2/payload-0028.json",
      "prompt_path": "creative/prompts/logos/release-es-light.txt",
      "approved_source_packaged": "sources/identity-originals/es.png"
    },
    {
      "job_index": 29,
      "id": "release-es-dark",
      "locale": "es",
      "asset_mode": "dark",
      "approved_wordmark": "Semana Mundial de la Lactancia Materna",
      "approved_lines": [
        "Semana Mundial",
        "de la Lactancia Materna"
      ],
      "approved_source": "/workspace/scratch/940ebd499e62/generated_images/exec-08ab2dee-4737-4a48-bafc-77d707dc02ad.png",
      "approved_source_sha256": "fbeb6ecb9ee1450386d48530592474cb65e3daafdae3e79af15cc867716583c4",
      "native_output": "/workspace/scratch/940ebd499e62/generated_images/exec-ad24a21e-d96b-456d-9c00-5963f3d1c369.png",
      "native_output_sha256": "401dac7cb5ddabaae0fee99acca7098d89ff42a893ea8fcc318c6e91bea566e7",
      "actual_payload": "creative/payloads/logos/release-es-dark.json",
      "actual_prompt_sha256": "a9b57403a09307ee9c21fc09c166a3b79a4fc147384d7bc01e6f6f25423d4b90",
      "native_transparent_background": true,
      "qa_status": "pass",
      "alpha": {
        "mode": "RGBA",
        "size": [
          1254,
          1254
        ],
        "min": 0,
        "max": 255,
        "zero_fraction": 0.7485354680015974,
        "partial_fraction": 0.24678540631701046
      },
      "pixel_perfect_identity": false,
      "exact_rendered_hex_claimed": false,
      "package_path": "assets/logos/es/dark.png",
      "qa_evidence": {
        "reviewer": "/root/color_payloads/logo_release_qa",
        "method": "Informed visual comparison of every native original plus correct alpha compositing over white and #251330. Source typography, exact visible copy, prescribed lines, both eye marks, palette roles, 3D depth where applicable inspected.",
        "full_png_decode": "pass",
        "alpha_range": [
          0,
          255
        ],
        "significant_alpha_bbox": [
          74,
          194,
          1189,
          1181
        ],
        "significant_content_min_margin_px": 65
      },
      "original_runtime_payload": "/workspace/scratch/940ebd499e62/weltstillwoche-release/prepared-v2/payload-0029.json",
      "prompt_path": "creative/prompts/logos/release-es-dark.txt",
      "approved_source_packaged": "sources/identity-originals/es.png"
    },
    {
      "job_index": 30,
      "id": "release-es-full-3d",
      "locale": "es",
      "asset_mode": "full-3d",
      "approved_wordmark": "Semana Mundial de la Lactancia Materna",
      "approved_lines": [
        "Semana Mundial",
        "de la Lactancia Materna"
      ],
      "approved_source": "/workspace/scratch/940ebd499e62/generated_images/exec-08ab2dee-4737-4a48-bafc-77d707dc02ad.png",
      "approved_source_sha256": "fbeb6ecb9ee1450386d48530592474cb65e3daafdae3e79af15cc867716583c4",
      "native_output": "/workspace/scratch/940ebd499e62/generated_images/exec-904b6096-d865-4b20-8e73-f7e1ae80c714.png",
      "native_output_sha256": "9bd416292cdcae102286b5266645ddac90c48be02b49a708eb312b43688bd374",
      "actual_payload": "creative/payloads/logos/release-es-full-3d.json",
      "actual_prompt_sha256": "6d0e7431807776387228abc3323b4b3d53239434fffe72ef357e389f78af5951",
      "native_transparent_background": true,
      "qa_status": "pass",
      "alpha": {
        "mode": "RGBA",
        "size": [
          1254,
          1254
        ],
        "min": 0,
        "max": 255,
        "zero_fraction": 0.6845831775320569,
        "partial_fraction": 0.3124038165589412
      },
      "pixel_perfect_identity": false,
      "exact_rendered_hex_claimed": false,
      "package_path": "assets/logos/es/full-3d.png",
      "qa_evidence": {
        "reviewer": "/root/color_payloads/logo_release_qa",
        "method": "Informed visual comparison of every native original plus correct alpha compositing over white and #251330. Source typography, exact visible copy, prescribed lines, both eye marks, palette roles, 3D depth where applicable inspected.",
        "full_png_decode": "pass",
        "alpha_range": [
          0,
          255
        ],
        "significant_alpha_bbox": [
          42,
          139,
          1224,
          1181
        ],
        "significant_content_min_margin_px": 30
      },
      "original_runtime_payload": "/workspace/scratch/940ebd499e62/weltstillwoche-release/prepared-v2/payload-0030.json",
      "prompt_path": "creative/prompts/logos/release-es-full-3d.txt",
      "approved_source_packaged": "sources/identity-originals/es.png"
    },
    {
      "job_index": 31,
      "id": "release-fr-light",
      "locale": "fr",
      "asset_mode": "light",
      "approved_wordmark": "Semaine Mondiale de l'Allaitement Maternel",
      "approved_lines": [
        "Semaine Mondiale",
        "de l'Allaitement Maternel"
      ],
      "approved_source": "/workspace/scratch/940ebd499e62/generated_images/exec-5390fa2f-5787-4b67-b314-63c8e1a5bee5.png",
      "approved_source_sha256": "9b3e81181b851d8461ef4491a3093dd1f98bf3023731b66c1729eecb9124d6db",
      "native_output": "/workspace/scratch/940ebd499e62/generated_images/exec-6ee63c7c-f0af-4ae0-a0ab-552e831b8063.png",
      "native_output_sha256": "cd0558d22e209f47f7ca1ac67ddd6a17a0c9475a51a1a402ecb75d77a9af7c0d",
      "actual_payload": "creative/payloads/logos/release-fr-light.json",
      "actual_prompt_sha256": "9fcfdc2c929c385ecf3d89b76d66bdb0ea2a776914b34aa2df5f593dadb095ae",
      "native_transparent_background": true,
      "qa_status": "pass",
      "alpha": {
        "mode": "RGBA",
        "size": [
          1254,
          1254
        ],
        "min": 0,
        "max": 255,
        "zero_fraction": 0.7866393728267311,
        "partial_fraction": 0.20858929257317574
      },
      "pixel_perfect_identity": false,
      "exact_rendered_hex_claimed": false,
      "package_path": "assets/logos/fr/light.png",
      "qa_evidence": {
        "reviewer": "/root/color_payloads/logo_release_qa",
        "method": "Informed visual comparison of every native original plus correct alpha compositing over white and #251330. Source typography, exact visible copy, prescribed lines, both eye marks, palette roles, 3D depth where applicable inspected.",
        "full_png_decode": "pass",
        "alpha_range": [
          0,
          255
        ],
        "significant_alpha_bbox": [
          90,
          209,
          1173,
          1161
        ],
        "significant_content_min_margin_px": 81
      },
      "original_runtime_payload": "/workspace/scratch/940ebd499e62/weltstillwoche-release/prepared-v2/payload-0031.json",
      "prompt_path": "creative/prompts/logos/release-fr-light.txt",
      "approved_source_packaged": "sources/identity-originals/fr.png"
    },
    {
      "job_index": 32,
      "id": "release-fr-dark",
      "locale": "fr",
      "asset_mode": "dark",
      "approved_wordmark": "Semaine Mondiale de l'Allaitement Maternel",
      "approved_lines": [
        "Semaine Mondiale",
        "de l'Allaitement Maternel"
      ],
      "approved_source": "/workspace/scratch/940ebd499e62/generated_images/exec-5390fa2f-5787-4b67-b314-63c8e1a5bee5.png",
      "approved_source_sha256": "9b3e81181b851d8461ef4491a3093dd1f98bf3023731b66c1729eecb9124d6db",
      "native_output": "/workspace/scratch/940ebd499e62/generated_images/exec-5a19996e-80da-4f4c-855c-e40cdd425132.png",
      "native_output_sha256": "c643fabbd814482cbf5b263e4abc7ad7f5975c85b62c3b51ab3ee11d91cd8425",
      "actual_payload": "creative/payloads/logos/release-fr-dark.json",
      "actual_prompt_sha256": "bd7c45945e1767cbfd7437f0d6b64269da12ec919d3cdaf689d7eaffd9a4fa09",
      "native_transparent_background": true,
      "qa_status": "pass",
      "alpha": {
        "mode": "RGBA",
        "size": [
          1254,
          1254
        ],
        "min": 0,
        "max": 255,
        "zero_fraction": 0.8022118693863847,
        "partial_fraction": 0.19307530098262912
      },
      "pixel_perfect_identity": false,
      "exact_rendered_hex_claimed": false,
      "package_path": "assets/logos/fr/dark.png",
      "qa_evidence": {
        "reviewer": "/root/color_payloads/logo_release_qa",
        "method": "Informed visual comparison of every native original plus correct alpha compositing over white and #251330. Source typography, exact visible copy, prescribed lines, both eye marks, palette roles, 3D depth where applicable inspected.",
        "full_png_decode": "pass",
        "alpha_range": [
          0,
          255
        ],
        "significant_alpha_bbox": [
          62,
          229,
          1197,
          1104
        ],
        "significant_content_min_margin_px": 57
      },
      "original_runtime_payload": "/workspace/scratch/940ebd499e62/weltstillwoche-release/prepared-v2/payload-0032.json",
      "prompt_path": "creative/prompts/logos/release-fr-dark.txt",
      "approved_source_packaged": "sources/identity-originals/fr.png"
    },
    {
      "job_index": 33,
      "id": "release-fr-full-3d",
      "locale": "fr",
      "asset_mode": "full-3d",
      "approved_wordmark": "Semaine Mondiale de l'Allaitement Maternel",
      "approved_lines": [
        "Semaine Mondiale",
        "de l'Allaitement Maternel"
      ],
      "approved_source": "/workspace/scratch/940ebd499e62/generated_images/exec-5390fa2f-5787-4b67-b314-63c8e1a5bee5.png",
      "approved_source_sha256": "9b3e81181b851d8461ef4491a3093dd1f98bf3023731b66c1729eecb9124d6db",
      "native_output": "/workspace/scratch/940ebd499e62/generated_images/exec-968391fa-c8fd-4134-96ff-5aa51cd0300d.png",
      "native_output_sha256": "591d1760462f9df0e32aea30606dcaac4e6c078fc4929987a3832e299fd8ba88",
      "actual_payload": "creative/payloads/logos/release-fr-full-3d.json",
      "actual_prompt_sha256": "5dfde16ba3d32ab09ac18ca05eb23d3d47f9dd74bb8726adc18607659ad33592",
      "native_transparent_background": true,
      "qa_status": "pass",
      "alpha": {
        "mode": "RGBA",
        "size": [
          1254,
          1254
        ],
        "min": 0,
        "max": 255,
        "zero_fraction": 0.6701458045577915,
        "partial_fraction": 0.32721574852020585
      },
      "pixel_perfect_identity": false,
      "exact_rendered_hex_claimed": false,
      "package_path": "assets/logos/fr/full-3d.png",
      "qa_evidence": {
        "reviewer": "/root/color_payloads/logo_release_qa",
        "method": "Informed visual comparison of every native original plus correct alpha compositing over white and #251330. Source typography, exact visible copy, prescribed lines, both eye marks, palette roles, 3D depth where applicable inspected.",
        "full_png_decode": "pass",
        "alpha_range": [
          0,
          255
        ],
        "significant_alpha_bbox": [
          46,
          113,
          1208,
          1185
        ],
        "significant_content_min_margin_px": 46
      },
      "original_runtime_payload": "/workspace/scratch/940ebd499e62/weltstillwoche-release/prepared-v2/payload-0033.json",
      "prompt_path": "creative/prompts/logos/release-fr-full-3d.txt",
      "approved_source_packaged": "sources/identity-originals/fr.png"
    }
  ],
  "status": "33/33 native PNGs passed visual, transparency, spelling and full decode checks; copied without byte changes",
  "limitations": [
    "Native raster concepts; pixel-perfect identity and exact rendered HEX are not claimed.",
    "Many interiors have alpha around253–254, and trace near-transparent RGB edge pixels remain; correct alpha compositing was visually clean on intended backgrounds.",
    "Light and full3D variants use deep plum text and suit light backgrounds; the dedicated dark mode uses pale text for dark canvases.",
    "No vector master or true 3D mesh was created. All33 PNGs are1254×1254.",
    "Keep layout container padding; several long localized logos have limited native transparent margins, with no significant content clipping."
  ]
}

report.json

qa/report.json

JSON · 4,738 B

Pokaż treść
{
  "schema_version": "1.0",
  "edition": "v1",
  "overall": "candidate",
  "delivery_status": "Complete requested identity/brandkit package; technical limitations explicitly recorded",
  "gates": [
    {
      "id": "INPUT",
      "status": "pass",
      "evidence": "Current user-approved violet identity and 11 localized source rasters copied byte-for-byte; root independently matched all 11 source hashes. Missing corporate master is explicitly excluded, no reconstruction."
    },
    {
      "id": "NATIVE",
      "status": "pass",
      "evidence": "10 independent native board outputs with actual generation/prompt/reference hashes in generation-log.json; 33 native logo outputs and six toolkit outputs have separate actual ledgers. No image compositing or raster editing in release."
    },
    {
      "id": "SQUARE",
      "status": "pass",
      "evidence": "All 10 foundation boards are actual 1254×1254 PNG. This does not certify inner mockup aspect ratios."
    },
    {
      "id": "IDENTITY",
      "status": "unverified",
      "evidence": "Named reviewers visually checked identity and both eyes in native assets; exact vector/pixel equality with approved source is not claimed. Native source originals remain authority."
    },
    {
      "id": "COPY",
      "status": "pass",
      "evidence": "101 visible board occurrences reviewed by named agents at full size and enlarged regions, bound to final hashes. All 33 localized transparent logos independently reviewed for exact spelling, line breaks, eyes and proper alpha compositing."
    },
    {
      "id": "CORE",
      "status": "pass",
      "evidence": "All ten final boards viewed by root and release_package; coherent violet/lilac/plum material, enclosing arcs, rounded display type and documentary closeness. Final07 has campaign names and no website CTA chips."
    },
    {
      "id": "WEB",
      "status": "unverified",
      "evidence": "CSS semantic pairs, local font glyph coverage and JS syntax pass. Browser executable unavailable; desktop/mobile rendering, keyboard and download runtime remain unverified. Plain HTML/CSS specimen is not deployed app."
    },
    {
      "id": "CREATIVE",
      "status": "pass",
      "evidence": "Observed hierarchy and offer-neutral examples follow locked campaign world; no invented offer/date/gift/URL. Portrait and website mockups illustrate reflow; standalone placement geometry is not certified."
    },
    {
      "id": "PHOTO",
      "status": "pass",
      "evidence": "No product SKU or jewellery is claimed in generated boards. Family scenes inspected visually; supplied product truth is not overridden. Generated people are illustrative, not factual customer evidence."
    },
    {
      "id": "DOC",
      "status": "pass",
      "evidence": "DESIGN.md written after viewing all ten final boards and records observations, exact implementation decisions, product/commerce unknowns and tested/unverified limits. 24 explicit unknown offer tuples and11 exact locale records included."
    },
    {
      "id": "ASSETS",
      "status": "pass",
      "evidence": "33 native localized logos have real RGBA alpha0–255, complete decoding and independent proper-composite visual review.22WEB files are exact-byte aliases; symbols/icons/background/pattern original native files. Icon sizes1254px documented, optional exact tiny-size preset excluded."
    },
    {
      "id": "EDITION",
      "status": "pass",
      "evidence": "New v1 ten-board set; original approved source bytes preserved. Rejected image outputs and old palettes excluded; current final07 selected, failed attempts retained outside release."
    },
    {
      "id": "PACKAGE",
      "status": "unverified",
      "evidence": "Finalizer verifies recursive catalogue, every inventory hash, complete PNG decoding and scoped deliverable. Atomic archive receipt and saved-copy transport verification are performed after this inner report; see external receipt for exact result."
    }
  ],
  "limitations": [
    "No exact-pixel/vector reproduction claim for generated logo variants.",
    "No final commerce terms or publication destinations supplied.",
    "No real-browser runtime or print-production proof.",
    "Board06/07 composition panels are illustrative, not placement-ready ratio or central-square-certified ads.",
    "Native app/icon masters are1254px; unrequested16/32/48ICO and192/512 derivatives were not generated.",
    "Native 3D assets with small inherent margins require external placement padding; no clipping found."
  ],
  "user_scope_approval": "Current owner accepted all localized identities and purple and requested full brandkit plus ZIP. No further user approval is pending for creating this package."
}

sale-contract-validation.json

qa/sale-contract-validation.json

JSON · 145 B

Pokaż treść
{
  "returncode": 0,
  "stdout": "{\n  \"status\": \"pass\",\n  \"scope\": \"handoff_semantics_only\",\n  \"errors\": []\n}\n",
  "stderr": ""
}

scoped-deliverable-audit.json

qa/scoped-deliverable-audit.json

JSON · 370 B

Pokaż treść
{
  "status": "pass",
  "scope": "Actual user deliverable: ten native boards, eleven localized light/dark/full3D alpha logos, WEB aliases, source preservation, full file inventory and required documentation",
  "errors": [],
  "excluded_preset": "Unrequested exact favicon/app derivative sizes, whose deterministic image resizing is not authorized in this execution."
}

static-links.json

qa/static-links.json

JSON · 203 B

Pokaż treść
{
  "status": "pass",
  "scope": "Parsed HTML href/src file existence; dynamic controls and browser rendering are separate",
  "files": [
    "index.html",
    "web/specimen.html"
  ],
  "missing": []
}

stock-preset-audit.json

qa/stock-preset-audit.json

JSON · 1,603 B

Pokaż treść
{
  "returncode": 1,
  "stdout": "{\n  \"structural_pass\": false,\n  \"errors\": [\n    \"missing asset roles: favicon_dark,favicon_light\",\n    \"app icon must be 1024 square\",\n    \"app icon must be 1024 square\",\n    \"missing file: assets/favicon-light-16.png\"\n  ],\n  \"checks\": [\n    {\n      \"contrast\": \"light/foreground on background\",\n      \"ratio\": 9.818,\n      \"minimum\": 4.5\n    },\n    {\n      \"contrast\": \"light/muted-foreground on muted\",\n      \"ratio\": 5.693,\n      \"minimum\": 4.5\n    },\n    {\n      \"contrast\": \"light/primary-foreground on primary\",\n      \"ratio\": 11.149,\n      \"minimum\": 4.5\n    },\n    {\n      \"contrast\": \"light/ring on background\",\n      \"ratio\": 4.525,\n      \"minimum\": 3\n    },\n    {\n      \"contrast\": \"light/input on background\",\n      \"ratio\": 4.525,\n      \"minimum\": 3\n    },\n    {\n      \"contrast\": \"dark/foreground on background\",\n      \"ratio\": 15.227,\n      \"minimum\": 4.5\n    },\n    {\n      \"contrast\": \"dark/muted-foreground on muted\",\n      \"ratio\": 9.101,\n      \"minimum\": 4.5\n    },\n    {\n      \"contrast\": \"dark/primary-foreground on primary\",\n      \"ratio\": 8.315,\n      \"minimum\": 4.5\n    },\n    {\n      \"contrast\": \"dark/ring on background\",\n      \"ratio\": 8.315,\n      \"minimum\": 3\n    },\n    {\n      \"contrast\": \"dark/input on background\",\n      \"ratio\": 8.315,\n      \"minimum\": 3\n    }\n  ],\n  \"scope\": \"Structural and byte checks only; visual and runtime checks are separate.\"\n}\n",
  "stderr": ""
}

toolkit-generation.json

qa/toolkit-generation.json

JSON · 17,116 B

Pokaż treść
{
  "schema_version": 1,
  "scope": "standalone_toolkit",
  "native_tool": "image_gen.imagegen",
  "model": "not exposed by runtime",
  "items": [
    {
      "id": "symbol-light",
      "transparent_background": true,
      "prompt": "Edit the attached approved Weltstillwoche logo master to create a standalone symbol asset for the same campaign. The reference is the sole authority for silhouette geometry. Keep it 100% true to the original in every detail: a mother bowing toward a nursing infant, one enclosing organic violet form, two face profiles in negative space, two separate closed-eye crescent accents, the same tapered endpoints, overlaps, head/body proportions and angled poses. Remove the entire wordmark without replacing it with any text. This is extraction by faithful native regeneration, not a new design. Preserve the open negative-space channels and both eye accents. No letters, initials, frame, stickers, border, glow, drop shadow, checkerboard print or extra ornament. Flat crisp vector-like edges and smooth solid fields. Center the complete symbol on a square 1024×1024 target canvas with generous transparent padding, approximately 68% canvas height. No clipping. Use body violet #8A5AA5 and both eyes plum #4F2873. Background and every face/interior pale opening must be genuinely transparent alpha, not pale paint. All colored form pixels stay opaque. Deliver a standalone transparent PNG.",
      "source_path": "/workspace/scratch/940ebd499e62/generated_images/exec-3cee9905-3efa-4c72-9d82-99c489bab770.png",
      "references": [
        {
          "path": "/workspace/scratch/940ebd499e62/attachments/bac1a885-f407-4b24-97ee-3df92fc4f360/image.png",
          "role": "approved identity master",
          "sha256": "75d44618488955f588cd608383279656efb465db32426c31ede9e52032660126"
        }
      ],
      "tool_success": true,
      "attempts": 1,
      "code_visual_edits": false,
      "path": "assets/symbols/light.png",
      "sha256": "e9482bf2002ca714fae2b355e263d3994d463772bb009059c7102bd9632ede9e",
      "width": 1254,
      "height": 1254,
      "dimensions_target": [
        1024,
        1024
      ],
      "dimensions_status": "native runtime delivered 1254 square; not resized",
      "bytes": 514591,
      "original_bytes_preserved": true,
      "alpha_extrema": [
        0,
        255
      ],
      "alpha_zero_pixels": 1114055,
      "alpha_opaque_pixels": 2916,
      "visual_qa": {
        "full_size_viewed": true,
        "text_absent": true,
        "status": "pass",
        "reviewer": "toolkit_assets",
        "alpha_composite_viewed": true,
        "mother_and_infant_profiles": true,
        "two_closed_eye_crescents": true,
        "negative_space_transparent": true,
        "source_geometry_claim": "visually faithful native raster interpretation; not exact vector geometry",
        "note": "Low-alpha fringe RGB appears colored in raw views but is clean in true alpha composite."
      }
    },
    {
      "id": "symbol-dark",
      "transparent_background": true,
      "prompt": "Edit the attached approved Weltstillwoche logo master to create a standalone symbol asset for the same campaign. The reference is the sole authority for silhouette geometry. Keep it 100% true to the original in every detail: a mother bowing toward a nursing infant, one enclosing organic violet form, two face profiles in negative space, two separate closed-eye crescent accents, the same tapered endpoints, overlaps, head/body proportions and angled poses. Remove the entire wordmark without replacing it with any text. This is extraction by faithful native regeneration, not a new design. Preserve the open negative-space channels and both eye accents. No letters, initials, frame, stickers, border, glow, drop shadow, checkerboard print or extra ornament. Flat crisp vector-like edges and smooth solid fields. Center the complete symbol on a square 1024×1024 target canvas with generous transparent padding, approximately 68% canvas height. No clipping. Dark-surface adaptation: use body light violet #C9A7E1 and both eyes pale lilac #F5EEFA. Background and every face/interior pale opening must be genuinely transparent alpha, not painted dark or pale. All colored form pixels stay opaque. Deliver a standalone transparent PNG.",
      "source_path": "/workspace/scratch/940ebd499e62/generated_images/exec-4bc5c1f9-4551-49ec-8aa7-973001e54ea5.png",
      "references": [
        {
          "path": "/workspace/scratch/940ebd499e62/attachments/bac1a885-f407-4b24-97ee-3df92fc4f360/image.png",
          "role": "approved identity master",
          "sha256": "75d44618488955f588cd608383279656efb465db32426c31ede9e52032660126"
        }
      ],
      "tool_success": true,
      "attempts": 1,
      "code_visual_edits": false,
      "path": "assets/symbols/dark.png",
      "sha256": "db38e6562862bbb78fba18bc79ffbe7af182594efbf22d6436c6f0aff7a0380e",
      "width": 1254,
      "height": 1254,
      "dimensions_target": [
        1024,
        1024
      ],
      "dimensions_status": "native runtime delivered 1254 square; not resized",
      "bytes": 453043,
      "original_bytes_preserved": true,
      "alpha_extrema": [
        0,
        255
      ],
      "alpha_zero_pixels": 1190607,
      "alpha_opaque_pixels": 2691,
      "visual_qa": {
        "full_size_viewed": true,
        "text_absent": true,
        "status": "pass",
        "reviewer": "toolkit_assets",
        "alpha_composite_viewed": true,
        "mother_and_infant_profiles": true,
        "two_closed_eye_crescents": true,
        "negative_space_transparent": true,
        "source_geometry_claim": "visually faithful native raster interpretation; not exact vector geometry",
        "note": "Low-alpha fringe RGB appears colored in raw views but is clean in true alpha composite."
      }
    },
    {
      "id": "app-icon-light",
      "transparent_background": false,
      "prompt": "Create a full-square 1024×1024 target app icon for the approved Weltstillwoche campaign from the attached master. Remove all lettering. Preserve only its mother-and-nursing-infant symbol, 100% true to the original in every detail: one enclosing organic body, the bowing mother's profile and infant profile formed by negative space, both delicate closed-eye crescent accents, and the original pointed open endpoints. Keep the silhouette proportions and original orientation; no stylistic redesign, additional heads, hands or decorations. The whole symbol must fit comfortably inside the central 66% width and 66% height of the square so circular or rounded platform masks will not cut any part off. Background is a flat opaque color extended to all four outer edges; every face and opening shows this same background color. Symbol is centered optically and geometrically. Flat vector-like treatment, clean antialiasing, no bevel or glow, no shadows, no frame, no baked corner rounding. Absolutely no letters or tiny captions. Use background #F5EEFA, symbol body #8A5AA5, and both eye crescents #4F2873.",
      "source_path": "/workspace/scratch/940ebd499e62/generated_images/exec-c7ea4653-a967-4e26-abc5-ed6bfed47e16.png",
      "references": [
        {
          "path": "/workspace/scratch/940ebd499e62/attachments/bac1a885-f407-4b24-97ee-3df92fc4f360/image.png",
          "role": "approved identity master",
          "sha256": "75d44618488955f588cd608383279656efb465db32426c31ede9e52032660126"
        }
      ],
      "tool_success": true,
      "attempts": 1,
      "code_visual_edits": false,
      "path": "assets/app-icons/light.png",
      "sha256": "b6d86ce8f4c34bf2d966ca9953700d00b55f0b19588271a7d84289857edabdb7",
      "width": 1254,
      "height": 1254,
      "dimensions_target": [
        1024,
        1024
      ],
      "dimensions_status": "native runtime delivered 1254 square; not resized",
      "bytes": 906399,
      "original_bytes_preserved": true,
      "alpha_extrema": [
        255,
        255
      ],
      "alpha_zero_pixels": 0,
      "alpha_opaque_pixels": 1572516,
      "visual_qa": {
        "full_size_viewed": true,
        "text_absent": true,
        "status": "pass",
        "reviewer": "toolkit_assets",
        "full_square_no_rounded_corners": true,
        "two_closed_eye_crescents": true,
        "platform_mask_test": "not runtime-tested"
      },
      "icon_safe_area_analysis": {
        "foreground_bbox": [
          254,
          192,
          999,
          1081
        ],
        "foreground_max_radius_fraction": 0.3784,
        "inside_maskable_radius_0_4": true,
        "threshold_note": "RGB distance from median border >45, approximate raster foreground estimate; no platform runtime test."
      }
    },
    {
      "id": "app-icon-dark",
      "transparent_background": false,
      "prompt": "Create a full-square 1024×1024 target app icon for the approved Weltstillwoche campaign from the attached master. Remove all lettering. Preserve only its mother-and-nursing-infant symbol, 100% true to the original in every detail: one enclosing organic body, the bowing mother's profile and infant profile formed by negative space, both delicate closed-eye crescent accents, and the original pointed open endpoints. Keep the silhouette proportions and original orientation; no stylistic redesign, additional heads, hands or decorations. The whole symbol must fit comfortably inside the central 66% width and 66% height of the square so circular or rounded platform masks will not cut any part off. Background is a flat opaque color extended to all four outer edges; every face and opening shows this same background color. Symbol is centered optically and geometrically. Flat vector-like treatment, clean antialiasing, no bevel or glow, no shadows, no frame, no baked corner rounding. Absolutely no letters or tiny captions. Use background #251330, symbol body #C9A7E1, and both eye crescents #F5EEFA.",
      "source_path": "/workspace/scratch/940ebd499e62/generated_images/exec-b6a39db3-1768-44da-be22-5e2dddd0643a.png",
      "references": [
        {
          "path": "/workspace/scratch/940ebd499e62/attachments/bac1a885-f407-4b24-97ee-3df92fc4f360/image.png",
          "role": "approved identity master",
          "sha256": "75d44618488955f588cd608383279656efb465db32426c31ede9e52032660126"
        }
      ],
      "tool_success": true,
      "attempts": 1,
      "code_visual_edits": false,
      "path": "assets/app-icons/dark.png",
      "sha256": "66b799bb0d760c36bd4f182b1082c986c7528777f2785cc0c325920715c92cba",
      "width": 1254,
      "height": 1254,
      "dimensions_target": [
        1024,
        1024
      ],
      "dimensions_status": "native runtime delivered 1254 square; not resized",
      "bytes": 1011979,
      "original_bytes_preserved": true,
      "alpha_extrema": [
        255,
        255
      ],
      "alpha_zero_pixels": 0,
      "alpha_opaque_pixels": 1572516,
      "visual_qa": {
        "full_size_viewed": true,
        "text_absent": true,
        "status": "pass",
        "reviewer": "toolkit_assets",
        "full_square_no_rounded_corners": true,
        "two_closed_eye_crescents": true,
        "platform_mask_test": "not runtime-tested"
      },
      "icon_safe_area_analysis": {
        "foreground_bbox": [
          264,
          184,
          990,
          1066
        ],
        "foreground_max_radius_fraction": 0.369,
        "inside_maskable_radius_0_4": true,
        "threshold_note": "RGB distance from median border >45, approximate raster foreground estimate; no platform runtime test."
      }
    },
    {
      "id": "embracing-arcs-pattern",
      "transparent_background": false,
      "prompt": "Create a standalone square 1024×1024 target repeatable decorative pattern for the approved lilac Weltstillwoche campaign. Use the attached approved identity only as a palette and emotional reference, not as a shape to duplicate literally. Build a sparse, beautifully balanced repeat unit of twelve simple open embracing arcs, rounded tapered C-shaped strokes or two softly nested open curves. Alternate their orientation gently and their scale subtly; they suggest closeness and holding without depicting people. Pale lavender #F5EEFA background, quiet lilac #C9A7E1 and softly muted violet #8A5AA5 arcs, ample negative space. All motifs are entirely contained within the tile. Keep the outermost 8% on every edge completely uniform background with no pattern marks, gradients, noise or shadows, so neighboring tiles can sit together cleanly. Plan spacing across the repeat boundary deliberately. Flat vector-like surface, smooth edges, no fabric texture. No text, logo, wordmark, letters, numerals, faces, eyes, baby silhouettes, literal hearts, stars or badges. Deliver exactly one whole square tile, not a contact sheet or pattern shown on a product.",
      "source_path": "/workspace/scratch/940ebd499e62/generated_images/exec-093733d3-e0d8-4d42-b6f1-075fed02e874.png",
      "references": [
        {
          "path": "/workspace/scratch/940ebd499e62/attachments/bac1a885-f407-4b24-97ee-3df92fc4f360/image.png",
          "role": "palette and emotional inspiration, not literal identity",
          "sha256": "75d44618488955f588cd608383279656efb465db32426c31ede9e52032660126"
        }
      ],
      "tool_success": true,
      "attempts": 1,
      "code_visual_edits": false,
      "path": "assets/patterns/embracing-arcs.png",
      "sha256": "6f67fad046f2c51c0e05e498539d4bb83fac2cbd0784b8798a35d75e2ee7fcf0",
      "width": 1254,
      "height": 1254,
      "dimensions_target": [
        1024,
        1024
      ],
      "dimensions_status": "native runtime delivered 1254 square; not resized",
      "bytes": 976415,
      "original_bytes_preserved": true,
      "alpha_extrema": [
        255,
        255
      ],
      "alpha_zero_pixels": 0,
      "alpha_opaque_pixels": 1572516,
      "visual_qa": {
        "full_size_viewed": true,
        "text_absent": true,
        "status": "pass",
        "reviewer": "toolkit_assets",
        "two_by_two_repeat_viewed": true,
        "repeat_observation": "No motif is cut at tile joins. Sparse repeat remains coherent; subtle raster-background edge differences exist (maximum 3/255), so no pixel-exact seamless claim."
      },
      "repeat_seam_metrics": {
        "left_right_mean_rgb_difference": 0.49069643806485913,
        "left_right_max_rgb_difference": 2,
        "top_bottom_mean_rgb_difference": 0.6427432216905901,
        "top_bottom_max_rgb_difference": 3,
        "pixel_exact_seamless": false,
        "claim": "Repeatable decorative raster tile with contained motifs; not mathematically seamless."
      }
    },
    {
      "id": "lilac-linen-background",
      "transparent_background": false,
      "prompt": "Create one standalone square 1024×1024 target art-directed background image for the approved lilac Weltstillwoche campaign. The attached approved logo supplies only color and the emotional idea of an embrace; do not render its mark, faces, wordmark or lettering. A close, tactile plane of very fine pale-lilac linen #F5EEFA fills the square, softly lit by neutral daylight from upper left. In the lower-right quarter rests one sculptural open embracing arc made of thick satin violet porcelain in #8A5AA5, with rounded quiet bevels, a clear three-dimensional side wall, and a soft physically plausible contact shadow. The open arc feels generous, protective and organic, with asymmetrical tapering ends, not a literal ring, heart or letter. Keep the entire upper-left 60% visually quiet and low contrast for optional later live text. Restrained tonal variation, subtle real woven texture, no orange cast. No jewelry, product, gift, props, humans, flowers, text, logos, frames, fake UI or added motifs. The asset is a text-free full-bleed campaign background; deliver the whole scene without captions.",
      "source_path": "/workspace/scratch/940ebd499e62/generated_images/exec-062ed815-2d54-4afc-bc1f-086a2b5409a8.png",
      "references": [
        {
          "path": "/workspace/scratch/940ebd499e62/attachments/bac1a885-f407-4b24-97ee-3df92fc4f360/image.png",
          "role": "palette and emotional inspiration, not literal identity",
          "sha256": "75d44618488955f588cd608383279656efb465db32426c31ede9e52032660126"
        }
      ],
      "tool_success": true,
      "attempts": 1,
      "code_visual_edits": false,
      "path": "assets/backgrounds/lilac-linen-open-arc.png",
      "sha256": "fd5c90136a0b7d7dc6207ebce9622133eb5c14e2df71d2807fa33768f9c27cd0",
      "width": 1254,
      "height": 1254,
      "dimensions_target": [
        1024,
        1024
      ],
      "dimensions_status": "native runtime delivered 1254 square; not resized",
      "bytes": 2404818,
      "original_bytes_preserved": true,
      "alpha_extrema": [
        255,
        255
      ],
      "alpha_zero_pixels": 0,
      "alpha_opaque_pixels": 1572516,
      "visual_qa": {
        "full_size_viewed": true,
        "text_absent": true,
        "status": "pass",
        "reviewer": "toolkit_assets"
      }
    }
  ]
}

be-fr.png

sources/identity-originals/be-fr.png

PNG · 983,059 B

sources/identity-originals/be-fr.png

Materiał źródłowy; status użycia sprawdź w dokumentacji.

be-nl.png

sources/identity-originals/be-nl.png

PNG · 976,284 B

sources/identity-originals/be-nl.png

Materiał źródłowy; status użycia sprawdź w dokumentacji.

de-at.png

sources/identity-originals/de-at.png

PNG · 1,680,214 B

sources/identity-originals/de-at.png

Materiał źródłowy; status użycia sprawdź w dokumentacji.

es.png

sources/identity-originals/es.png

PNG · 1,021,630 B

sources/identity-originals/es.png

Materiał źródłowy; status użycia sprawdź w dokumentacji.

eu.png

sources/identity-originals/eu.png

PNG · 1,075,233 B

sources/identity-originals/eu.png

Materiał źródłowy; status użycia sprawdź w dokumentacji.

fr.png

sources/identity-originals/fr.png

PNG · 1,046,678 B

sources/identity-originals/fr.png

Materiał źródłowy; status użycia sprawdź w dokumentacji.

it.png

sources/identity-originals/it.png

PNG · 1,040,788 B

sources/identity-originals/it.png

Materiał źródłowy; status użycia sprawdź w dokumentacji.

nl.png

sources/identity-originals/nl.png

PNG · 927,754 B

sources/identity-originals/nl.png

Materiał źródłowy; status użycia sprawdź w dokumentacji.

pl.png

sources/identity-originals/pl.png

PNG · 1,091,873 B

sources/identity-originals/pl.png

Materiał źródłowy; status użycia sprawdź w dokumentacji.

pt.png

sources/identity-originals/pt.png

PNG · 990,053 B

sources/identity-originals/pt.png

Materiał źródłowy; status użycia sprawdź w dokumentacji.

uk.png

sources/identity-originals/uk.png

PNG · 977,989 B

sources/identity-originals/uk.png

Materiał źródłowy; status użycia sprawdź w dokumentacji.

source-ledger.md

sources/source-ledger.md

MD · 1,495 B

Pokaż treść
# Source and authority ledger

| Source | Included | Authority |
|---|---|---|
| User's exact market-name list, current conversation | `exact-copy.json` transcription | User-locked campaign wording. Event equivalence and event dates are not inferred. |
| User-selected purple German raster | `identity-originals/de-at.png` | Approved current campaign identity. Raster is production reference for appearance; no original vector exists in this payload. |
| Ten localized rasters approved by owner | `identity-originals/` | Approved locale appearance; source hashes in exact-copy.json. |
| Native transparent variants | `assets/logos/` | Reusable generated variants. Native edits can change pixels; do not claim pixel-identical extraction. |
| Google Fonts Nunito Sans upstream | `assets/fonts/` | Real font binary with OFL license. This does not identify the native logo font. |
| MILKIES corporate logo | Not supplied in current scope | No recreation or fabricated corporate master is included. Obtain exact original before corporate co-branding. |
| HUMAN PRODUCT MODEL, app855FycNpcG5VM5 | Locator only | Product packet is a downstream dependency, not fetched or fabricated by this kit. |
| Current commercial offer | Not supplied | All mechanisms, amounts, gifts, dates and destinations remain unconfirmed. |

Only the approved current campaign sources are included. No Personal OS records, credentials, customer data, rejected concepts or historical promotion packs are part of this archive.

Materiał źródłowy; status użycia sprawdź w dokumentacji.

tokens.json

tokens.json

JSON · 3,648 B

Pokaż treść
{
  "schema_version": "1.0",
  "edition": "v1",
  "palette": {
    "violet": "#8A5AA5",
    "plum": "#4F2873",
    "lilac": "#F5EEFA",
    "night": "#251330",
    "lavender": "#C9A7E1",
    "white": "#FFFFFF"
  },
  "source_status": {
    "purple_direction": "user_locked",
    "light_palette": "implementation_decision derived from approved palette brief",
    "dark_extension": "implementation_decision"
  },
  "themes": {
    "light": {
      "background": "#F5EEFA",
      "foreground": "#4F2873",
      "card": "#FFFFFF",
      "card-foreground": "#4F2873",
      "popover": "#FFFFFF",
      "popover-foreground": "#4F2873",
      "primary": "#4F2873",
      "primary-foreground": "#FFFFFF",
      "secondary": "#E6D6F0",
      "secondary-foreground": "#4F2873",
      "muted": "#EEE4F5",
      "muted-foreground": "#694F79",
      "accent": "#E6D6F0",
      "accent-foreground": "#4F2873",
      "destructive": "#9C2B48",
      "destructive-foreground": "#FFFFFF",
      "border": "#C9A7E1",
      "input": "#8A5AA5",
      "ring": "#8A5AA5"
    },
    "dark": {
      "background": "#251330",
      "foreground": "#F5EEFA",
      "card": "#351D43",
      "card-foreground": "#F5EEFA",
      "popover": "#351D43",
      "popover-foreground": "#F5EEFA",
      "primary": "#C9A7E1",
      "primary-foreground": "#251330",
      "secondary": "#4F2873",
      "secondary-foreground": "#F5EEFA",
      "muted": "#351D43",
      "muted-foreground": "#D7C3E4",
      "accent": "#684384",
      "accent-foreground": "#FFFFFF",
      "destructive": "#F8ADC0",
      "destructive-foreground": "#251330",
      "border": "#8A5AA5",
      "input": "#C9A7E1",
      "ring": "#C9A7E1"
    }
  },
  "typography": {
    "family": "Nunito Sans",
    "fallback": "ui-sans-serif, system-ui, sans-serif",
    "source": "assets/fonts/NunitoSans-Variable.ttf",
    "license": "assets/fonts/OFL.txt",
    "weights": [
      400,
      600,
      700,
      800
    ],
    "logo": "Native custom lettering; not a claim that logo uses Nunito Sans",
    "scale": {
      "display": {
        "size": "clamp(2.5rem, 6vw, 5rem)",
        "line_height": 1.05,
        "weight": 800
      },
      "h1": {
        "size": "clamp(2rem, 4vw, 3.5rem)",
        "line_height": 1.1,
        "weight": 800
      },
      "h2": {
        "size": "clamp(1.5rem, 2.5vw, 2.5rem)",
        "line_height": 1.15,
        "weight": 700
      },
      "body": {
        "size": "1rem",
        "line_height": 1.6,
        "weight": 400
      },
      "caption": {
        "size": "0.875rem",
        "line_height": 1.5,
        "weight": 600
      }
    }
  },
  "spacing": {
    "1": "0.25rem",
    "2": "0.5rem",
    "3": "0.75rem",
    "4": "1rem",
    "6": "1.5rem",
    "8": "2rem",
    "12": "3rem",
    "16": "4rem"
  },
  "radius": {
    "small": "0.5rem",
    "medium": "1rem",
    "large": "1.5rem",
    "pill": "999px"
  },
  "shadow": {
    "card": "0 12px 36px rgb(37 19 48 / 8%)",
    "focus": "0 0 0 3px var(--ring)"
  },
  "motion": {
    "duration_ms": 160,
    "easing": "ease-out",
    "reduced_motion": "disable nonessential animations"
  },
  "contrast_pairs": [
    {
      "name": "light/body",
      "foreground": "#4F2873",
      "background": "#F5EEFA",
      "minimum": 4.5
    },
    {
      "name": "light/action",
      "foreground": "#FFFFFF",
      "background": "#4F2873",
      "minimum": 4.5
    },
    {
      "name": "dark/body",
      "foreground": "#F5EEFA",
      "background": "#251330",
      "minimum": 4.5
    },
    {
      "name": "dark/action",
      "foreground": "#251330",
      "background": "#C9A7E1",
      "minimum": 4.5
    }
  ]
}

README.md

web/README.md

MD · 1,887 B

Pokaż treść
# Offline WEB implementation

Open `specimen.html` directly after extraction. CSS and Nunito Sans are local; no CDN, API key, build step or network connection is required. This is a brand implementation specimen, not a deployed store.

Import `theme.css` and select a root `.dark` class for dark mode. Semantic variables use CSS HEX values. In a shadcn project map existing Button/Card/Badge/Input/Dialog primitives to `--primary`, `--card`, `--secondary`, `--input`, `--ring`; do not copy a generated board as interactive UI. No framework package is bundled, and no shadcn registry slug or version compatibility is claimed.

Components and states: Button uses 44 px minimum target, hover brightness, clear focus and disabled state; Card is content-only; Input has persistent label, explicit invalid text and aria-describedby; locale/theme selectors expose real native behavior. Loading requires a text status with aria-live, error a text explanation plus recovery action. Decorative imagery has empty alt; meaningful logos have exact localized alt text. Preserve reduced-motion behavior and text reflow. No commerce button links to a guessed destination.

`assets/logos/<key>/web-light.png` and `web-dark.png` are exact-byte aliases of native flat variants. CSS sets display size while retaining original pixels and proportions. They are not separately reconstructed vector logos. Native logo lettering is not Nunito Sans text.

Official implementation sources inspected 2026-09-30:
- https://ui.shadcn.com/docs/theming
- https://ui.shadcn.com/docs/components/base/button
- https://ui.shadcn.com/docs/components/base/card

The supplied implementation is plain HTML/CSS. Semantic foreground/background pairs and .dark overrides align with the documented theming model. The package does not include shadcn library code. Integrators must verify actual project versions and primitive APIs.

specimen.html

web/specimen.html

HTML · 3,749 B

Pokaż treść
<!doctype html><html lang="pl"><meta charset="utf-8"><meta name="viewport" content="width=device-width,initial-scale=1"><title>Weltstillwoche · WEB specimen</title><link rel="stylesheet" href="theme.css"><a class="skip" href="#main">Przejdź do treści</a><header class="container"><p><a href="../index.html">← Brandkit</a></p></header><main id="main" class="container"><section><p>WEB / LIVE TEXT</p><h1>Bliskość ma swój kolor.</h1><p>Praktyczna próbka typografii, przycisków i jasnego oraz ciemnego motywu. To demonstracja identyfikacji, bez aktywnej oferty handlowej.</p><div class="grid"><label>Wersja językowa<br><select id="locale"><option value="de-at">Deutschland / Österreich · DE-AT</option><option value="pl">Polska · PL</option><option value="nl">Niderlandy · NL</option><option value="pt">Portugalia · PT</option><option value="eu">Wersja międzynarodowa · EU</option><option value="it">Włochy · IT</option><option value="be-nl">Belgia · niderlandzki · BE-NL</option><option value="be-fr">Belgia · francuski · BE-FR</option><option value="uk">Wielka Brytania · UK</option><option value="es">Hiszpania · ES</option><option value="fr">Francja · FR</option></select></label><div><button id="theme" type="button" aria-pressed="false">Włącz ciemny motyw</button></div></div></section><section class="card"><img id="logo" class="logo" src="../assets/logos/de-at/web-light.png" alt="Weltstillwoche"><h2 id="locale-name">Weltstillwoche</h2><p class="muted">Logo jest oryginalnym obrazem. Ten nagłówek pozostaje prawdziwym tekstem.</p></section><section><div class="grid"><article class="card"><h2>Miękka hierarchia</h2><p>Nunito Sans w tekście interfejsu. Mocniejszy nagłówek, spokojny rytm treści i czytelny kontrast.</p><button type="button" id="sample-action">Pokaż informację</button><p id="status" role="status" aria-live="polite"></p></article><article class="card"><h2>Formularz demonstracyjny</h2><label for="sample-name">Nazwa projektu</label><input id="sample-name" value="Weltstillwoche" aria-describedby="field-help"><p id="field-help" class="muted">Próbka wizualna. Dane nie są wysyłane.</p><button type="button" disabled>Wysyłka niedostępna</button></article></div></section></main><footer class="container"><a href="../tokens.json">Tokeny JSON</a> · <a href="theme.css">CSS</a> · <a href="../assets/fonts/OFL.txt">Licencja fontu</a></footer><script>const copy={"de-at": "Weltstillwoche", "pl": "Międzynarodowy Tydzień Noszenia & Tydzień Bliskości", "nl": "Landelijke Borstvoedingsweek", "pt": "Semana Mundial do Aleitamento Materno", "eu": "International Breastfeeding Week", "it": "SAM – Settimana Mondiale per l'Allattamento Materno", "be-nl": "Wereldborstvoedingsweek", "be-fr": "Semaine mondiale de l'allaitement", "uk": "International Babywearing Week", "es": "Semana Mundial de la Lactancia Materna", "fr": "Semaine Mondiale de l'Allaitement Maternel"};let dark=false;const locale=document.getElementById('locale'),logo=document.getElementById('logo'),theme=document.getElementById('theme');function update(){logo.src='../assets/logos/'+locale.value+'/web-'+(dark?'dark':'light')+'.png';logo.alt=copy[locale.value];document.getElementById('locale-name').textContent=copy[locale.value];}locale.addEventListener('change',update);theme.addEventListener('click',()=>{dark=!dark;document.documentElement.classList.toggle('dark',dark);theme.setAttribute('aria-pressed',String(dark));theme.textContent=dark?'Włącz jasny motyw':'Włącz ciemny motyw';update();});document.getElementById('sample-action').addEventListener('click',()=>{document.getElementById('status').textContent='To działający stan komponentu. Brak aktywnej oferty lub przejścia do sklepu.';});</script></html>

theme.css

web/theme.css

CSS · 3,310 B

Pokaż treść
/* Exact implementation tokens. Native artwork shading is not a CSS color source. */
@font-face{font-family:"Nunito Sans";src:url("../assets/fonts/NunitoSans-Variable.ttf") format("truetype");font-weight:200 1000;font-style:normal;font-display:swap;}
:root {
  --background: #F5EEFA;
  --foreground: #4F2873;
  --card: #FFFFFF;
  --card-foreground: #4F2873;
  --popover: #FFFFFF;
  --popover-foreground: #4F2873;
  --primary: #4F2873;
  --primary-foreground: #FFFFFF;
  --secondary: #E6D6F0;
  --secondary-foreground: #4F2873;
  --muted: #EEE4F5;
  --muted-foreground: #694F79;
  --accent: #E6D6F0;
  --accent-foreground: #4F2873;
  --destructive: #9C2B48;
  --destructive-foreground: #FFFFFF;
  --border: #C9A7E1;
  --input: #8A5AA5;
  --ring: #8A5AA5;
}
.dark {
  --background: #251330;
  --foreground: #F5EEFA;
  --card: #351D43;
  --card-foreground: #F5EEFA;
  --popover: #351D43;
  --popover-foreground: #F5EEFA;
  --primary: #C9A7E1;
  --primary-foreground: #251330;
  --secondary: #4F2873;
  --secondary-foreground: #F5EEFA;
  --muted: #351D43;
  --muted-foreground: #D7C3E4;
  --accent: #684384;
  --accent-foreground: #FFFFFF;
  --destructive: #F8ADC0;
  --destructive-foreground: #251330;
  --border: #8A5AA5;
  --input: #C9A7E1;
  --ring: #C9A7E1;
}
*{box-sizing:border-box}body{margin:0;background:var(--background);color:var(--foreground);font-family:"Nunito Sans",ui-sans-serif,system-ui,sans-serif;font-size:16px;line-height:1.6}a{color:inherit}button,input,select{font:inherit}button,.button{display:inline-flex;align-items:center;justify-content:center;min-height:44px;padding:.7rem 1.2rem;border:1px solid transparent;border-radius:999px;background:var(--primary);color:var(--primary-foreground);font-weight:700;text-decoration:none;cursor:pointer}button:hover,.button:hover{filter:brightness(1.07)}button:disabled{cursor:not-allowed;opacity:.55}a:focus-visible,button:focus-visible,input:focus-visible,select:focus-visible,summary:focus-visible{outline:3px solid var(--ring);outline-offset:4px}input,select{min-height:44px;background:var(--card);color:var(--card-foreground);border:1px solid var(--input);border-radius:.5rem;padding:.6rem .8rem}.container{width:min(1180px,100% - 40px);margin-inline:auto}.card{background:var(--card);color:var(--card-foreground);border:1px solid var(--border);border-radius:1.5rem;padding:1.5rem}.muted{color:var(--muted-foreground)}h1,h2,h3{line-height:1.12;letter-spacing:-.025em}h1{font-size:clamp(2rem,4vw,3.5rem)}h2{font-size:clamp(1.5rem,2.5vw,2.5rem)}p{max-width:72ch}img{max-width:100%;height:auto}.logo{display:block;width:min(100%,640px);object-fit:contain;margin:auto}code{font-family:ui-monospace,monospace;font-size:.9em}pre{overflow:auto;border-radius:1rem;padding:1rem;background:var(--muted);color:var(--muted-foreground)}.skip{position:absolute;left:12px;top:-100px}.skip:focus{top:12px;z-index:99}.grid{display:grid;grid-template-columns:repeat(auto-fit,minmax(min(100%,260px),1fr));gap:1.2rem}.stack{display:grid;gap:1rem}section{padding-block:2rem}footer{padding-block:2rem;border-top:1px solid var(--border)}@media(max-width:600px){.container{width:min(100% - 28px,1180px)}.card{padding:1rem}}@media(prefers-reduced-motion:reduce){*,*::before,*::after{animation:none!important;transition:none!important;scroll-behavior:auto!important}}