Promptbibliotheek

Please create a separate high-end travel palette watercolor study poster for each photo I upload, outputting each photo as an independent piece without multi-image collages. The entire artwork must be completed in a single image generation, without using code splicing. Overall, adopt a 2:3 vertical composition, using warm off-white natural watercolor paper as the complete canvas. The image should simultaneously include four interconnected parts: high-fidelity original photo, same-scene watercolor study, travel archive text, and three hand-drawn color swatches extracted from the photo. Overall, retain large areas of undrawn paper space, like a page of carefully organized travel observation notes, rather than an information-dense color chart or ordinary split-screen template. ## Original Photo Place a large high-fidelity original photo at the top of the image, occupying approximately 44%–48% of the total page height and 86%–90% of the width. Retain narrow and even off-white photo paper borders around the photo, and use an extremely fine warm gray outline to create a restrained postcard or archival photo mounting effect. The photo must faithfully preserve the following from the uploaded image: - Subject identity and number of subjects - Poses of people or animals - Architecture, terrain, roads, and water surfaces - Core objects and viewing angles - Relative positions and spatial relationships - Real textures and natural light and shadow - Original color atmosphere Only apply very subtle high-end travel publication color grading and thin film grain processing. Do not move, replace, or redesign subjects; do not add or remove people, alter architectural structures, reshape terrain, mirror, copy, stretch, or distort the image. To fit the photo frame, you can naturally extend the sky, ground, or environmental edges, but do not use blurred photo copies to fill. ## Watercolor Study In the lower part of the page, slightly to the right, reinterpret the same photo as a restrained hand-drawn watercolor observation sketch, occupying approximately 54%–62% of the page width and 26%–32% of the height. The watercolor study must retain the most important subjects, outlines, poses, directions, terrain, and narrative relationships from the original photo, allowing viewers to instantly recognize the original scene. But do not fully replicate the photo's framing, subject proportions, or information density. First select one to three most identifiable visual anchors from the photo, then scale down, crop, and reorganize. Actively remove complex backgrounds, photographic lighting and shadows, fine textures, repetitive structures, and irrelevant clutter. Adapt processing based on subject matter: - Natural landscapes: Retain mountain-water relationships, shorelines, terrain directions, forests, and weather features - Architectural scenes: Retain the most unique roofs, facades, door-window proportions, roads, and surrounding plants - Urban scenes: Retain street directions, core architecture, vehicles, and minimal people relationships - People or animals: Retain numbers, poses, hairstyles, main clothing colors, and key props; soften facial features - Still life and travel objects: Retain overall outlines, main material colors, openings, handles, and iconic structures The watercolor must have a realistic, loose, selective hand-drawn texture: transparent watercolor layers, controlled wash, cold-pressed paper grain, dry-brush edges, broken pigment, subtle granulation, uneven pigment pooling, partially exposed paper, unfinished dissolving margins, restrained loose ink or pencil traces. Do not form complete rectangular edges on the watercolor; do not paint the entire background. Let parts of clouds, trees, roads, mountains, architecture, or figure outlines naturally break off and fade into the paper. Pigments can be locally layered, but do not turn the whole page into large areas of transparent watercolor bleeding. The watercolor study should be lighter and sparser than the photo, distinctly differing from the upper photo in subject scale, image cropping, background retention, and information density. You can add one to two extremely small, very faint local observations, such as a puff of cloud, a tree branch segment, a roof section, a bird, a streetlamp, or a landmark object. These elements must come from the original photo; do not add unrelated decorations, nor form a second visual center. ## Travel Archive Text In the lower left part of the page, set a narrow and restrained column of travel archive information, maintaining clear distance from the watercolor, without overlapping. Place in sequence: “[Three-digit number, e.g., 001]” A very short fine horizontal line “[1–3 English words for location or theme title]” “Postcard Study” “LOCATION” followed by a blank writing line “DATE” followed by a blank writing line Use very small vintage lead-type or monospaced font for the number. Use a spacious small uppercase high-contrast serif font for the English main title. Use a smaller italic serif font for “Postcard Study”. Use extremely small uppercase sans-serif font for “LOCATION” and “DATE”. All text in soft charcoal gray or dark gray-brown, keeping it precise, clear, and restrained. If the user has not provided a number, automatically use a three-digit number. The title should be distilled from the photo's real location, architecture, subject, or theme. When the specific location cannot be confirmed, use a generalized scene title; do not fabricate place names. Leave blank lines for LOCATION and DATE by default; do not arbitrarily fill in fictional information. Besides the above text, do not add brands, logos, author names, URLs, QR codes, long copy, or unrelated annotations. ## Three Color Swatches Below the archive text, place exactly three independent hand-drawn watercolor color swatches. The three color swatches arranged horizontally, similar in size, evenly spaced, without text labels, color numbers, HEX values, or Pantone codes. The three colors must be extracted separately from the current original photo: 1. A subject color or environmental main color that best represents the scene 2. A dark color responsible for structure, shadows, and spatial depth 3. A light or accent color responsible for air, highlights, or location features Each photo must be re-analyzed and colors selected anew; do not apply fixed color swatches to all works. The color swatches should look like direct watercolor pen tests on paper: - Irregular hand-drawn rectangles - Dry-brush frayed edges - Pigment density variations - Slight transparency - Visible paper grain - Minimal pigment settling Do not make them into clean digital squares, UI components, colored circles, or printed color chips. Exactly three color swatches must appear; not more, not fewer. ## Paper and Overall Aesthetic The background uses warm ivory white, off-white, or light cream natural watercolor paper, with visible fibers, fine paper flecks, slight color variations, matte grain, and cold-pressed paper texture. The paper texture runs throughout the page and is clearly visible in large blank areas. Clear but relaxed editorial order should form between the photo, watercolor, archive text, and color swatches. The high-end feel comes from authentic photography, selective watercolor translation, accurate color extraction, paper breathability, and fine typography, not complex decorations. Overall, like an independent travel magazine, architectural observation book, artist's travel notebook, or boutique postcard study page. Aesthetic light, clear, gentle, restrained, with a sense of memory and collectible value. Style keywords: travel palette postcard study, editorial photo and watercolor field note, source-derived color swatches, selective watercolor translation, cold-pressed paper grain, dry-brush palette cards, archival travel typography, extreme ivory negative space, refined postcard layout, handmade visual research page. Avoid: generic color-palette infographic, more or fewer than three swatches, hex codes, Pantone labels, colored circles, UI color chips, digital rectangles, sticker layout, scrapbook clutter, adhesive tape, push pins, torn-paper collage, multiple unrelated photos, full-page watercolor wash, photorealistic watercolor copy, same-crop same-scale redraw, automatic photo filter, cartoon landscape, flat vector illustration, smooth gradients, 3D objects, fake handwriting, excessive captions, invented location, fake date, author name, logo, watermark, frame or product mockup. Most important rule: The top must faithfully retain the original photo; the lower page must reinterpret the same scene as a selective watercolor study that has been scaled down, cropped, and actively reduced, and extract exactly three hand-drawn color swatches authentically from the current photo. The color swatches are not decorations, but true summaries of the photo's main color, structural darks, and air or accent colors; the watercolor is not a photo filter, nor can it follow the upper photo's complete composition in proportional redraw.