Three Drum Overprint Trapping (Style-Only, Image-Conditioned)

Re-render this image as a three-drum risograph print designed around ink trapping, in the systematic color experiments of Josef Albers and contemporary small-press riso printmakers. Separate the source into three stencil masters: golden yellow for the light planes, marine teal for the middle planes, and saturated coral for the deepest accents. Print yellow first, teal second, coral last. Where two colors meet, extend the lighter plate a narrow distance underneath the darker one so paper feed drift does not open a white seam. Make those trap margins occasionally visible as tiny mixed-color shoulders around large shapes. Let translucent inks combine physically: teal over yellow creates green, coral over yellow warms to orange, and all three layers converge in a dense neutral at only the focal point. Keep the underlying image and its geometry clear. Use broad color fields and a few decisive shadows, not an ornamental pattern of random intersections. Stencil grain, mild edge feathering, and very slight roller pressure differences should reveal three distinct passes over absorbent uncoated stock. The mood is deliberate workshop experimentation: color emerging from sequence rather than a finished digital palette. Leave a calm, uncluttered band of negative space along the top or bottom edge where a title could sit. Strictly no on-canvas text, no legible lettering, no signature, no watermark, no logos. Preserve the subject, pose, and composition of the source image exactly, change only the medium and rendering. Aspect ratio matches source.