[BRAND NAME].

Act as a Senior Graphic Designer and Analog Print Specialist, specializing in hand-stamped, screen-printed, and risograph logo treatments on raw paper surfaces (style: underground zine / streetwear merch graphic / DIY print culture).

PHASE 1: BACKGROUND & PAPER SURFACE
A flat, off-white/warm light gray paper surface (#EFEFED) — NOT pure white, NOT digital white. The paper must have a subtle, visible tooth and micro-texture — cold-press watercolor paper or uncoated newsprint feel. Very slight, uneven tonal variation across the surface (the paper is not perfectly uniform — it is slightly warmer in some zones, cooler in others, as if real paper under ambient light). No gradients, no shadows, no depth — purely flat 2D surface.

PHASE 2: LOGO TREATMENT (STAMP/RISOGRAPH PRINT)
[BRAND NAME]'s real, official primary icon/symbol — standalone logomark only, no wordmark — reproduced with accurate shape fidelity, then rendered as if physically stamped or screen-printed onto the paper surface using a single color of ink. Ink color: deep charcoal/near-black (#1C1C1A) — NOT pure digital black, NOT #000000. The ink must read as a real physical ink deposit, NOT a digital shape.

Critical texture properties of the ink:
- Ink coverage is NOT solid or even — the stamp/print shows natural ink starvation across the entire mark: coarse, irregular grain where the ink has not fully transferred to the paper, creating a heavily textured, almost dry-brush or risograph halftone feel across all filled areas.
- The edges of every shape are NOT hard or anti-aliased — they are ragged, slightly feathered, and broken, as if the stamp plate lifted unevenly. Some edge sections are darker (over-inked), some are barely there (under-inked).
- Inside large filled areas, the ink thins out toward the center, showing more paper texture through — the outer edges of each shape are relatively darker, the centers are more porous and grainy.
- The overall mark feels like it was pressed once with a rubber stamp on slightly absorbent paper — imperfect, immediate, tactile.

PHASE 3: COMPOSITION
The logo mark is centered in the frame with generous negative space on all sides — the mark occupies roughly 50–60% of the frame. Perfectly flat, front-on view, zero rotation, zero perspective. No drop shadow, no background elements, no secondary text, no decorative framing. The mark floats on the paper as a standalone graphic object.

PHASE 4: ANALOG IMPERFECTION LAYER
Over the entire image (both paper and ink): a fine layer of paper grain and micro-dust — tiny specks and fiber fragments visible at close inspection, consistent with a scan of a physical print rather than a digital render. The final image must read as a high-resolution scan of a real stamped/printed artifact — NOT as a digital simulation of a stamp. If visible: faint ink bleed at one or two corners of the mark where slightly more ink pooled during the press.

TECH SPECS:
Flat 2D composition, no 3D, no lighting simulation. Final look: high-resolution flatbed scan aesthetic (600–1200 DPI scan of physical print). No chromatic aberration, no color (monochrome only: near-black ink on off-white paper). Resolution: 8K.