[BRAND NAME = ______________] [BACKGROUND COLOR = _____] [LOWER COLOR = _____________] C…

[BRAND NAME = ______________] [BACKGROUND COLOR = _____] [LOWER COLOR = _____________] Create a square 1:1 high-key studio CGI visualization of the authentic official standalone symbol of [BRAND NAME], physically translated into thick monolithic translucent glass with a near-white optically diffusive character, softly sculpted geometry, a perfectly smooth polished outer skin and localized deep [LOWER COLOR] volumetric absorption. BRAND ACCURACY Automatically identify the most recognizable authentic official standalone symbol of [BRAND NAME]. Preserve its canonical silhouette, proportions, stroke relationships, characteristic curves, intersections, internal negative spaces, counterforms and spacing. Do not redesign, simplify, inflate or reinterpret the identity. Use the official wordmark only if the brand has no recognizable standalone symbol. If the official symbol contains multiple separated components, preserve them as separate physical glass pieces in their exact relative positions. Do not connect them and do not add a backing plate. Ignore the logo's native colors. Translate only its authentic geometry into the material and optical system below. FORM AND CONSTRUCTION Construct every logo element as a substantial solid piece of optically dense cast glass rather than a thin graphic, acrylic sheet or conventional 3D extrusion. Preserve the original front-facing geometry while giving the material believable physical thickness. The front surfaces must be subtly convex and softly crowned rather than perfectly planar. Use broad continuous curvature from the central face toward the perimeter, creating a gently lens-like cross-section. Edges must transition through generous rounded shoulders into the sidewalls. Use smooth continuous curvature with no visible chamfer line and no conventional hard bevel. Round exposed stroke endings with large soft radii only where compatible with the authentic logo geometry. Preserve intentional sharp corners, pointed terminals, narrow gaps and structural features belonging to the original identity. The object should feel precision-cast and optically polished: substantial, continuous and physically coherent. Do not make the geometry inflated, rubbery, pillowy, tubular or cartoonishly rounded. Avoid razor-sharp CGI edges, thin acrylic sheets, hollow tubes, metallic frames, backing plates, laminated faces, separate surface coatings or decorative bevel architecture. MATERIAL SYSTEM Use one homogeneous translucent glass material throughout every physical component. The glass should be nearly colorless and extremely pale across most of its volume, with strong internal light diffusion but a perfectly smooth polished exterior. The outer glass skin is physically continuous, optically smooth and completely textureless at image resolution. Use restrained satin-polished optical response with surface roughness approximately 0.16–0.22. The subtle diffused appearance must come primarily from volumetric scattering INSIDE the material, not from a rough, etched, grainy or microscopically textured surface. The material must exhibit real optical depth through: refraction, transmission, volumetric light scattering, internal reflections, Fresnel edge response, absorption through thicker regions, subtle thickness-dependent density. The surface itself must remain visually clean and uniform. No visible scratches. No frost particles. No etched texture. No micro-bump. No stippling. No material grain. No fingerprints. No procedural surface noise. Do not render the object as opaque white plastic, ceramic, resin, chrome, clear acrylic or conventional crystal-clear glass. The material should feel like optically diffusive solid glass with a perfectly smooth polished outer skin. OPTICAL DENSITY AND COLOR GRADIENT This is the defining chromatic feature of the image. Most of every glass element should remain extremely pale, milky and nearly colorless, partially dissolving into the high-key environment. Introduce localized optical density toward the physically lower portions of the logo, especially lower curves, downward-facing terminals, lower stroke endings and other geometrically appropriate regions. [LOWER COLOR] controls the complete chromatic family of this lower optical-density zone. The color transition must occur INSIDE the glass volume. It must never look painted, printed, sprayed, coated or composited onto the surface. Build a continuous volumetric progression derived exclusively from [LOWER COLOR]: near-colorless milky glass → barely perceptible pale tint of [LOWER COLOR] → softly desaturated version of [LOWER COLOR] → rich saturated [LOWER COLOR] → extremely deep optically dense dark version of [LOWER COLOR]. Preserve the underlying hue identity of [LOWER COLOR] throughout the progression. Do not automatically introduce cyan, teal, blue, green, magenta or any unrelated secondary hue unless naturally inherent to the requested [LOWER COLOR]. The deepest regions may approach near-black through increased absorption and optical density, but must retain a perceptible undertone of [LOWER COLOR]. Keep the strongest color confined primarily to approximately the lowest 10–25% of the physical form where geometrically appropriate. Above this region, use a long, soft, extremely continuous transition back toward nearly colorless glass. Avoid a perfectly straight digital gradient boundary. Allow optical density to subtly follow curvature, thickness and local geometry so the transition feels physically embedded inside the object. Treat [LOWER COLOR] as volumetric absorption interacting with transmission, material thickness and internal reflection, not graphic coloration. Do not uniformly tint the entire logo. Do not create a [LOWER COLOR] outline. Do not darken every edge. Do not apply identical color distribution mechanically to every component. Allow separated pieces and different strokes to respond naturally to their own geometry while preserving a coherent downward optical-density bias across the complete symbol. LIGHTING Create an extremely soft high-key studio environment. Use one enormous diffused white source positioned frontal and slightly above the object, large enough to wrap almost completely across its visible surface. Add broad neutral-white environmental fill so the upper and central glass regions remain extremely pale and only subtly separated from the background. Use a very large soft overhead reflection card to create a broad, low-contrast highlight across upper-facing curved surfaces. Add one restrained narrow neutral-white reflection card from the upper-right/right side to produce occasional thin Fresnel highlights along selected convex contours. Use only minimal negative fill, primarily to help define the lower optically dense portions. The lighting must reveal the object through: minute luminance variation, internal scattering, transmission, curvature, Fresnel edge behavior, optical density. Do not rely on conventional dramatic light-and-shadow modeling. No hard key light. No spotlight. No dramatic side lighting. No strong rim lighting. No hard-edged reflections. No strong directional shadows. REFLECTIONS AND SHADING Keep the reflection environment exceptionally clean and minimal. Across the pale glass regions, use broad extremely soft neutral-white reflections that blend gradually into the body of the material. The main front faces should contain large calm tonal areas rather than busy reflection patterns. Along selected convex edges, allow very thin brighter Fresnel reflections that gently define the silhouette. These highlights must be physically caused by curvature and angle, not appear as a graphic outline. Inside the lower [LOWER COLOR] regions, allow deeper, smoother reflections and restrained chromatic internal highlights derived only from [LOWER COLOR]. Use the denser lower glass to reveal more obvious optical depth, thickness and internal reflection than the nea