STATIC SET MATERIAL REFERENCE: TEXT ONLY

Scope and authority
This description concerns only static scenery: walls, floors, architectural openings, fixed platforms, vegetation and other stationary set dressing already present in SOURCE. It is a material and photographic appearance guide, not a list of objects to place in the scene. SOURCE alone determines which objects exist, their exact contours, internal subdivisions, openings, count, placement, scale, palette and lighting. Nothing described below authorizes an addition, removal, redesign or replacement. If a described material feature is not supported by SOURCE, omit it. Preserve the ambiguity of unreadable details instead of inventing a mechanism or carving a new pattern.

Overall physical appearance
The reference scenery looks built by hand as tangible miniature sets with soft modeling-clay-like surfaces. Large shapes are simple and graphic, but their surfaces and junctions are physically uneven. Broad areas have been pressed, spread, dragged, joined and locally smoothed rather than manufactured as perfect sheets. The texture is hierarchical: large lumpy relief and broad tool sweeps, smaller flattened patches and soft creases, then restrained fine surface grain. The large existing forms matter much more than microdetail. Avoid making every square centimeter equally intricate. Some patches are relatively quiet and smooth, others more worked. Do not cover smooth areas with invented fingerprints or a repeating procedural texture.

Walls and broad sculpted planes
The warm ochre, terracotta and brown walls in the photographs show overlapping shallow flattened patches with irregular boundaries, broad hand- or tool-shaped depressions, short dragged grooves, raised lips and small soft-edged ridges. Many marks are wider and flatter than scratches. Some areas look gently smeared or scraped over earlier marks. Occasional short cuts, small pits and slightly ragged raised edges interrupt the broad relief; they are not a uniform network of cracks. Relief varies in depth and direction. Vertical wall areas remain continuous masses, not brickwork, stone blocks, plaster flakes or porous concrete. Do not reinterpret incidental clay creases as symbols, panels, mechanical parts, faces or ornaments. Where the original wall is comparatively smooth, keep it comparatively smooth.

Openings, trim and fixed architectural details
The photographed doorway demonstrates thick, materially substantial trim with softened irregular edges and a dark recessed opening. Its red surface is worked into broad pressed planes, shallow depressions, thin scoring and irregular small edge nicks. The neighboring light-colored upright has broad smoothed patches and restrained pitting, with local creases at the junction. Their contact is a slightly irregular meeting of differently colored masses, not a razor-perfect CAD seam. This is evidence of how existing architectural forms can look physically modeled, not a design template to copy. Do not change the shape of a SOURCE doorway, frame, button, circular fixture, ladder, ceiling element or window. Preserve the number and arrangement of holes, rings, rungs, ridges, cutouts and internal boundaries; internal geometry is not surface texture.

Floors and ground planes
The green ground photographs show broad, adjoining areas of different green values, with irregular hand-laid boundaries rather than blades of grass. Some boundaries are softly blended; others have a slightly raised, ragged or compressed edge. Large floor areas retain gentle spreading marks, shallow dents and restrained variations in sheen. The brown ground photograph shows flattened, dragged clay relief with longer low ridges and occasional soft creases that follow the worked surface. Wall-to-floor contacts have physical depth and local shadowing, with uneven rather than mechanically sharp transitions. These observations do not authorize adding green patches, seams, cracks, debris or floor relief to a SOURCE floor that does not show them. Keep every original floor boundary and contact location intact.

Stationary organic set dressing, only if already present
The woodland photograph shows a large stylized brown trunk and roots made from the same visibly worked material. Vertical dragged furrows, bulges, flattened patches, small pits and irregular protrusions create its relief; it is not fine photorealistic fibrous bark. The roots merge into broad irregular spreading forms at the ground. Smaller vegetation has deliberately simplified, rounded masses with clean but slightly soft sculpted divisions and nonuniform surfaces. If SOURCE contains such scenery, retain its stylization, existing branch count, outline and negative spaces. Do not add trees, roots, branches, plants, leaves or a naturalistic forest to an interior room. These are conditional observations of a reference set, not required scene contents.

Surface reflectance and color
The material generally appears opaque and pigmented, with a subdued waxy or satin character. Broad diffuse shading carries most of the form. Light-facing ridges sometimes catch a small soft glint, while depressed areas are duller and darker. A surface may be more matte in one area and slightly burnished in another; it is not uniformly chalky, mirror-glossy, metallic, transparent, wet or coated with a smooth plastic varnish. Pigment variation is subtle and attached to the worked material. Maintain SOURCE colors exactly in role and relative value: the warm photographed sets do not mean a pink or blue SOURCE room should become orange, brown, yellow or green. Do not spread the reference palette, warm white balance or saturation into SOURCE.

Lighting and contact depth
The photographs have directional stage-like illumination: raised lips and irregular edges catch light, shallow recesses create local shadow, and fixed objects meet surrounding surfaces with believable contact depth. Some images are strongly warm and contain deep black recesses; others have broad lit ground areas and more concentrated cast shadows. These are different lighting situations, not one lighting preset. SOURCE controls the light direction, brightness, shadow silhouettes, dark regions, bounce and color balance. Reveal existing relief through restrained local shading without moving shadows, inventing a rim light, opening up an intentionally dark doorway, or increasing dramatic contrast. Do not turn a shallow surface depression into a deep hole by exaggerating its shadow.

Scale, image character and exclusions
Preserve the scale of the miniature and the relative size of surface marks. A subtle grain must not become a wall-sized fingerprint, a small crease must not become a structural crack, and a highlight must not become a new ridge. The photographs contain visible capture limitations, including softness, warm casts and compressed fine detail; these are not authenticated high-resolution ground truth and should not be imitated as image defects. Do not add film grain, JPEG blocks, chromatic fringes, dust, hair, lint, loose scraps, suspension hardware, exposed support wires, production equipment or photographic borders. Such incidental artifacts are not required scenery. Do not infer a specific lens, film stock, chemical material composition or unseen construction from these photos.

Restoration objective
Produce a higher-resolution view of the same static SOURCE set, with believable restrained handmade material response. Prioritize unchanged object inventory, unchanged outer and inner geometry, unchanged composition and unchanged negative space. Improve legibility of existing broad sculpting before fine grain. Never trade a correct simple shape for a more impressive but invented one. When material richness conflicts with structural fidelity, preserve the original structure and use less detail.
