Promptbibliotheek

Please transform each of my uploaded travel photos into a separate, standalone "NAIVE OIL-PASTEL TRAVEL LINE｜Naive Oil-Pastel Travel Line Drawing." Output each photo individually, without stitching multiple images together. Use an overall 3:4 vertical split composition for top-bottom comparison. The top section takes up about 48%–50% of the frame, retaining the clear, substantial original photo with its actual area; the bottom section takes up about 50%–52%, distilling the same scene into an ultra-minimalist, naive yet maturely controlled oil-pastel travel line drawing. Use a clear, straight horizontal boundary between the top and bottom sections— no gradients, feathering, or bleeding into each other. The top half must faithfully preserve the original photo. Accurately maintain the subject's identity, number, orientation, pose, actions, key architectural structures, vehicle proportions, boat directions, mountain ridge shapes, spatial relationships between people and environment, natural textures, real lighting and shadows, and the original color atmosphere. Apply only subtle color grading as in travel magazines, indie publications, or photo exhibitions, and add the thinnest layer of film grain. Do not redraw the photo; do not stretch, mirror, shift, replace, or add subjects; do not alter vehicle directions, human poses, building outlines, mountain shapes, or boat counts. The top half must clearly remain a genuine photographic work. The bottom half should not repaint the photo's full composition from scratch. First, understand the photo and select one most memorable subject from it, such as: - A single boat - A lighthouse or tower - A pavilion, cabin, or standalone building - A roadside vehicle - An isolated mountain peak - One or two figures - An animal or a travel object with a clear outline Retain only the minimal visual facts needed to instantly recognize the subject: - Subject count - Overall outer contour - Orientation or direction of movement - Pose - The most important proportional relationships - One to three key structural elements - One contextual line explaining the environment For boats, keep the bow, stern, hull curve, cabin, or motor; for vehicles, keep wheel spacing, body direction, seats, and front-end structure; for buildings, keep roofline, main entrance, and support relationships; for mountains, keep the unique ridge and one essential horizon line; for people, keep count, pose, orientation, hairstyle, or main clothing color— without depicting facial features, fabric folds, or detailed body structures. Omit dense vegetation, repeated window panes, tourist clutter, signage, complex water ripples, cloud details, rock textures, and photographic-level light and dark. The background should retain at most one to three broken path lines, shorelines, water surfaces, horizons, ridges, or ground hints. Do not form a complete background, nor shrink the original scene to cram it all onto the page. The bottom half uses warm off-white or pale ivory matte drawing paper, with visible natural fibers, fine grains, and distinct paper texture resistance. The subject typically occupies only 22%–42% of the redrawn area's width and 20%–38% of its height, placed in the lower middle, offset left or right, and aligned with the original photo's subject direction. Retain at least 65%–80% completely undrawn continuous paper white. The paper itself must be the largest color block in the bottom half. Redraw the subject using childlike yet maturely controlled oil-pastel, thick crayon, or waxy chalk lines. The lines must exhibit: - Noticeably thick - Uneven pressure - Waxy grains - Paper texture resistance - Natural breaks - Partial whites - Occasional buildup - Hesitation and retracing - Slight double lines - Local misalignments - Unclosed contours - Intentional stopping on secondary structures Do not use a uniform black outer outline. Extract 3–6 colors from the original photo and use separated colored lines to distinguish structures. For example: - The subject's signature color for the main outer contour - Gray-blue or charcoal for tires, shadows, or ridges - Earth yellow, ochre, or gray-brown for buildings and ground - Gray-green or olive for minimal plant hints - Pale blue or gray-blue for one or two water or sky direction lines Avoid filling in color almost entirely. Add only sparse, translucent short hatches, rough smears, or waxy color patches in the subject's most critical spots. Allow slight deepening where crayons overlap, but do not build three-dimensional volume. Do not draw full shadows; do not use smooth gradients; do not aim for precise, polished perspective. It should feel like the work of an experienced illustrator deliberately keeping a touch of clumsiness. The bottom half should include a few small words by default. The small text includes: 1. A 1–3 English word subtitle; 2. An ultra-short observation of 5–10 English words. Before generating, clearly replace: TITLE: "[English Title]" OBSERVATION: "[Short sentence based on the photo's real content]" The observation sentence should not introduce site knowledge or generic travel platitudes. It should describe what's actually visible in the photo—actions, colors, positions, or sensations—like: - "yellow waits where the alley cools" - "the boat rests below the pale cliff" - "one figure stands beneath the peaks" - "a small door beneath stacked stone" Place the text in a stretch of continuous paper white away from the subject, with a total area not exceeding 3%–5% of the bottom section. The text uses: - Slightly slanted blunt pencil handwriting - Fine oil-pastel inscription - Lightly broken plain handwritten sans-serif - Letterforms with paper edges, whites, and waxy grains Text color extracted from the subject's contour color, gray-blue, gray-brown, or ochre. Do not use smooth, neat, floating digital fonts. Do not add author names, accounts, signatures, brands, logos, QR codes, URLs, fictional places, fake dates, faux Chinese, or gibberish. Overall, it should evoke: Simple, quiet, relaxed, slightly clumsy— like a quick sketch jotted in a paper notebook mid-journey. It can be naive, but not childish; simple, but not sloppy; inaccurate, but the subject's identity, direction, and pose must be spot-on. Avoid: children's classroom drawings, kindergarten cartoons, cute sticker aesthetics, flower-vase templates, colored-pencil detailed renderings, adult coloring books, uniform black outlines, automatic edge tracing, clean vector icons, smooth pen lines, full oil-pastel fills, heavy oil paintings, realistic crayon portraits, complete backgrounds, individual leaves, repeated water waves, photographic lighting, gradient shadows, full-page illustrations, decorative typography, fake text, author signatures, logos, watermarks, blurry split boundaries. The most important rule: First, strip the photo down to just the few most identifying lines of the subject, then let the crayon grains, breaks, hesitant contours, small text inscriptions, and vast untouched paper together complete the memory.