Promptbibliotheek

Please create a separate high-end watercolor-edited poster for each of my uploaded travel photos, without multi-image collages; output each photo individually. Overall, use a 3:4 vertical composition, defaulting to two distinct upper and lower sections: the upper section taking about 45%–50%, faithfully retaining the real original photo; the lower section taking about 50%–55%, reinterpreting the same scene as “Clear Paper White Travel Watercolor.” Use clear, horizontal, restrained borders between the upper and lower sections, without gradient blending, and do not let watercolor paper texture or pigment bleed into the photography area. 【Upper: High-Fidelity Original Photo】 Accurately retain the main subjects and their quantities in the photo, poses of people or animals, directions of boats or vehicles, architectural structures, bridge outlines, terrain flows, shorelines, water surfaces, trees, relative positions, viewing angles, real textures, natural light and shadows, and the original color atmosphere. Only apply subtle color grading in the style of travel art magazines, independent publications, and photography exhibitions, and add extremely faint film grain. The upper section must clearly remain a real photographic work, without illustration, redrawing, moving subjects, replacing buildings, altering poses, or inventing new travel elements. To fit the frame, natural cropping or clean paper-colored margins may be used, but do not stretch, mirror, duplicate subjects, blur edges, or alter the original perspective. 【Lower: Clear Paper White Travel Watercolor】 Extract content solely from the same photo above. Select one most identifiable visual anchor from the photo, such as a boat, a bridge, a solitary house, a church, a car, a person, a tree, or a distinct architectural outline, and retain one to three environmental clues that indicate location and spatial relationships. The lower section is neither a photo filter nor a watercolor rendition of the entire photo in the same crop or proportions. It must actively eliminate vast amounts of background, alter the scale and spatial organization of subjects, and compress the same scene into a cluster of light, clear watercolor memory fragments. The watercolor subject typically occupies about 48%–70% of the lower width and 38%–58% of the height, and may be placed centrally, offset left, or offset right. Reserve frontal space based on the subject’s direction: leave water ahead of a boat, sky above a house or peak, and paper white ahead of a person’s gaze. Do not shrink the full background and cram it into the watercolor cluster. For architecture, retain only roofs, bridge arches, spires, main window bands, or facade color blocks; for cities and hillsides, retain only two to three layers of spatial relationships; for water surfaces, paint only sparse, intermittent reflections; for trees, summarize into a few transparent color shapes; for people, boats, and vehicles, leave only the key outlines needed to maintain identity and action. Let pigments gradually fade, break off, and naturally stop near the edges of the composition. The watercolor cluster has no regular rectangular borders; its periphery naturally dissolves into the paper through watermarks, broken strokes, semi-dry brushwork, transparent color edges, and unfinished outlines. 【Watercolor and Paper Texture】 Use bright natural white cold-pressed cotton pulp watercolor paper, not yellowish old paper. The paper has visible but delicate fibers, slight texture, and a matte surface. Use high-water-content transparent watercolors, clear water edges, and minimal dry brush: transparent high-water watercolor, luminous preserved paper white, cold-pressed cotton paper grain, translucent layered washes, wet-on-wet blooms, subtle pigment granulation, natural backruns and tide marks, broken dry-brush texture, soft and crisp edge variation, unfinished fading edges. Let the paper itself bear all highlights, air, water sparkles, and light building surfaces, without using opaque white pigment to cover and create bright areas. First, establish one or two main environmental colors with extremely faint transparent layers, then overlay minimal denser but still transparent colors at key subject areas. Within color blocks, retain natural watermarks, pigment deposits, backflow edges, and paper texture showing through. Local areas may have crisp dry edges, but do not fully outline every object. Use only minimal fine, pale warm gray pencil lines, gray-brown dilute ink lines, or watercolor pencil broken lines at key structural points of the subject. Prohibit using black pen for complete outlining of architecture, leaves, people, or water surfaces. 【Negative Space】 Continuous natural paper white in the lower section typically occupies about 40%–60%. The negative space must be a single, bright, visibly perceptible open field, not mere accidental slivers between objects. The paper white represents both undrawn paper and elements from the photo such as air, sunlight, sky, mist, distance, walls, or water reflections. It should form a clear contrast in size, weight, and tone with the watercolor subject, and provide stable placement for text. The composition must evoke the feeling of “only leaving the colors most worth remembering, and entrusting the rest to the white paper.” 【Color】 Extract 4–7 main colors from the upper photo, increase overall brightness, reduce noise, and dilute heavily with water. Retain the photo’s authentic cool-warm relationships and one most identifiable color. Dark waters with pink walls, dry grass yellow with olive green, Mediterranean blue with warm architecture, deep forest green with autumn leaf orange—these can form different color cores for various images; do not fix all photos into a template of pale blue, pink, or candy colors. Allow one authentically present color to remain relatively pure, such as a boat’s deep hull color, terracotta roof tiles, sea’s teal blue, vehicle colors, or autumn tree orange-yellow. Let all other colors recede toward the paper white. For shadows, use transparent layering and hue shifts, not solid pure black, gray mist airbrushing, or opaque gouache. 【Text and Layout】 In the continuous paper white of the lower section, add a set of light, clear travel captions that naturally integrate with the watercolor medium. Based on the photo’s real content, pre-determine and generate word-for-word: 1. A main title of 1–3 English words; 2. A watercolor field, such as “WATERCOLOR NOTE 01”; 3. An observation sentence of 5–12 English words, describing a real visible subject, action, color, weather, or spatial relationship in the photo. The main title uses a fine, gentle serif font, pale graphite script, or watercolor pencil style, and must be clearly readable at chat preview size; the field and observation sentence are smaller but not reduced to decorative gray lines. Text colors are drawn from the image’s quietest gray-blue, gray-brown, olive gray, or pale ochre, with edges showing slight paper tooth, broken ink, and pigment variation. The captions form a cohesive group, placed in the continuous paper white, without crossing the subject, scattering evenly in the corners, or using sleek digital interface fonts. When location cannot be confirmed, write only the scene theme, without guessing city names, building names, dates, years, or coordinates. Prohibit author names, signatures, social accounts, fictional quotes, brands, logos, QR codes, URLs, fake Chinese, or garbled text. 【Overall Mood】 Overall, bright, quiet, light, clear, restrained yet not pallid, like a transparent watercolor study from a travel sketchbook that retains ample breathing room. The watercolor does not replicate all the photo’s information but preserves the clearest single subject, color, and light from that moment. The upper section records the real travel scene as it happened; the lower section is like a small patch of transparent color left by memory on white paper. The two must correspond at a glance, but with distinctly different compositional density, subject scale, and spatial organization. 【Strictly Avoid】 Avoid fully watercoloring the entire poster, lacking clear original photo contrast, redrawing the photography area, identical crops and subject proportions in upper and lower sections, full-page watercolor coverage, complete background tracery, photo filter effects, hazy low contrast, pink mist covering the whole image, opaque white gouache highlights, hard black pen outlines, dense architectural sketches, leaf-by-leaf trees and blade-by-blade grass, uniform digital watercolor brushes, smooth gradients, airbrushed halos, splattered pigment everywhere, traditional Eastern ink wash, oil painting, acrylic, gouache dominance, children’s picture books, anime, 3D, postcard borders, color swatches, tape, stickers, ticket decorations, arbitrarily adding flowers, flying birds, vehicles, or travel icons, fake handwritten text, author names, signatures, logos, watermarks, frames, wall mockups, or handheld mockups. Most important rule: Preserve the paper first, then decide what to paint. Brightness comes from the relationship between natural paper white and transparent pigments; only let the colors essential for maintaining the subject, location, and the light of the moment remain on the paper.