Promptbibliotheek

Create one independent high-end editorial art poster from each uploaded photograph. Do not combine multiple photographs into a collage. Each uploaded photograph must become one separate poster. Central concept: “A fleeting human moment remembered through watercolor.” The photograph records the real moment. The watercolor below preserves only the movement, emotion, atmosphere, and memory of that moment. OVERALL FORMAT Strict 3:4 vertical composition. Divide the canvas horizontally into two exactly equal sections: TOP HALF — exactly 50% BOTTOM HALF — exactly 50% Reality above. Memory below. The final result should feel like a refined independent art publication, contemporary photography book, or poetic travel journal. Never make it look like a commercial advertisement or generic poster template. TOP HALF — ORIGINAL PHOTOGRAPH Preserve the uploaded photograph as faithfully as possible. Do not redesign or reinterpret the photograph. Preserve: • subject identity • facial features • expression • hairstyle • body proportions • clothing • accessories • objects • pose • gesture • movement • spatial relationship between people • camera perspective • lighting • atmosphere • original narrative Especially preserve spontaneous human expressions and body language. If two or more people are essential to the emotional or narrative moment, preserve all of them. Do not automatically isolate only one person. Determine who belongs to the main narrative by analyzing: • visual focus • interaction • movement • gaze • spatial relationship • emotional connection Background people who are irrelevant to the central moment should not become important visual subjects. Apply only subtle premium editorial color grading. Maintain realistic photographic texture. Never beautify the face excessively. Never change identity. Never alter the original gesture. Never artificially reposition the body. If necessary for the 3:4 layout, naturally extend only environmental areas such as sky, ground, walls, road, architecture, vegetation, or surrounding space. Never stretch the main subjects. BOTTOM HALF — POETIC WATERCOLOR MEMORY The bottom half is NOT a complete watercolor copy of the photograph. It should feel like a visual memory extracted from the photograph. Identify the most emotionally recognizable moment first. Preserve only: • main character or characters • essential silhouettes • facial mood • body gesture • movement direction • interaction between people • one or two important objects • a few environmental clues Remove everything unnecessary. SUBJECT SCALE The watercolor subjects must remain relatively small. The complete illustrated scene should occupy approximately 15–30% of the bottom half. Do not enlarge the characters to fill the page. Surround the subjects with a very large amount of untouched paper. Negative space is one of the most important elements of the composition. The feeling should be: “a small human moment floating inside a large quiet page.” WATERCOLOR MOVEMENT Use delicate traditional watercolor techniques. The watercolor should be light, translucent, airy, imperfect, and restrained. Do NOT use heavy saturated watercolor. Do NOT fully paint every surface. Allow large areas of white paper to remain visible through the pigment. Preserve and amplify the movement already present in the original photograph. Use controlled watercolor motion blur. Movement may be expressed through: • directional brush dragging • broken pigment edges • translucent overlapping washes • partially dissolved contours • dry-brush streaks • soft trailing pigment • subtle repeated gesture traces • disappearing edges • flowing hair strokes • fabric movement • blurred limbs at the edge of motion The motion blur must follow the actual physical direction of movement. Never apply random blur. Keep important recognition points relatively clear: face, body center, essential gesture, important object. Allow secondary moving areas to dissolve. Examples: running → hair, jacket edges, arms and legs may trail backward. turning → clothing and hair may sweep around the body. jumping → legs and fabric may dissolve vertically. swinging → the object and arms may create a directional watercolor arc. walking → feet and lower clothing may fade into loose brush movement. The result should feel like: “movement itself passing through watercolor.” EMOTION & EXPRESSION Do not sacrifice expression for painterly style. Preserve the emotional character of the photograph. laughing → retain joyful openness running → retain energy and forward momentum waving → preserve the raised hand and spontaneous gesture looking back → preserve the relationship between gaze and body direction interacting with another person → preserve the emotional connection The watercolor version should immediately remind the viewer of the exact photographed moment. ENVIRONMENT Do not reproduce the entire background. Reduce the environment to a few poetic visual clues. Examples: crosswalk → several pale horizontal strokes football field → one soft green wash road → two or three gray directional strokes railing → one thin broken line buildings → faint geometric silhouettes trees → several soft pigment shapes stadium lights → tiny diffused dots The environment should gradually dissolve into the paper. No rectangular painted background. No complete scenery block. No hard frame. No artificial vignette. The watercolor should appear naturally suspended on the paper. PAPER & MATERIAL Use warm white or pale ivory natural watercolor paper. Visible but subtle paper grain. Use: transparent pigment, soft pigment pooling, dry-brush texture, slightly irregular edges, subtle granulation, occasional unfinished brush marks. Avoid excessive splashes. COLOR Extract colors directly from the original photograph. Compress them into approximately 3–5 dominant colors. Keep saturation restrained. The watercolor should generally feel lighter and quieter than the photograph. Preserve recognizable clothing colors when important. Examples: blue denim → muted denim blue red jersey → restrained warm red green field → pale sage or grass green black clothing → charcoal gray rather than solid black Allow colors to fade naturally into the paper. Never turn the lower half into a dense colorful painting. COMPOSITION Do not mechanically center every person. Analyze the direction of movement. Give more negative space in front of or around the movement when appropriate. For multiple people, preserve: • original relative scale • distance • direction • emotional relationship The composition should feel effortless, quiet, and poetic. TYPOGRAPHY Use ONLY ONE line of text. No year. No subtitle. No description. No second line. The text should be a short English phrase, usually 1–4 words. Choose the phrase according to the emotional atmosphere and movement of the photograph. Examples: IN THE MOMENT ON THE MOVE IN MOTION PASSING BY RUNNING FREE BETWEEN MOMENTS IN THE LIGHT AFTER THE RAIN JUST LIKE THAT TOGETHER ON THE GREEN TAKE FLIGHT SUMMER AIR HERE & NOW Do not automatically use the same phrase for every image. Typography should be: small, quiet, widely spaced, refined, editorial, understated. Place it naturally within the negative space near the lower area. The text must never compete with the illustration. VISUAL LANGUAGE Quiet Poetic Airy Human Spontaneous Refined Minimal Emotional Editorial Handmade Imperfect Light Dynamic Nostalgic Premium The strongest visual contrast should be: TOP: a real, vivid, spontaneous human moment. BOTTOM: the same moment becoming lighter, quieter, softer and more fleeting. AVOID Do not use: heavy watercolor coverage dark saturated watercolor dense backgrounds full-scene watercolor reproduction large characters filling the lower half commercial illustration anime aesthetics cute cartoon aesthetics digital painting aesthetics smooth vector illustration colored pencil crayon oil painting 3D rendering excessive watercolor splashes random motion blur generic speed lines overly detailed faces rigid traced outlines busy compositions decorative frames multiple text blocks years subtitles captions logos FINAL ART DIRECTION The top half should say: “This is what happened.” The bottom half should say: “This is how the moment felt.” Do not simply redraw the photograph. Extract its emotional center. Preserve the people who are essential to that moment. Preserve their gesture, expression, interaction and direction of movement. Then allow everything else to slowly disappear into watercolor, motion, paper and empty space. The final image should feel like a memory that is still moving.