Promptbibliotheek

Please create a separate high-end torn paper art edit poster for each of my uploaded travel street scene photos, without multi-image splicing—output each photo individually. Use an overall 3:4 vertical diptych composition, with the upper section retaining a clearly visible real original image, and the lower section reconstructing the same street and alley as "Torn Paper Street Reconstruction"; the upper and lower areas should have heights close to 1:1, using clear, horizontal boundaries—no fogging or mutual bleeding. Output only the front of the poster, without generating frames, walls, or handheld mockups. The upper half should occupy about 47%–50% of the frame, faithfully preserving the original photo. Accurately maintain the street's viewing angle, vanishing direction, road slope, buildings on both sides, eaves, doors and windows, signs, vehicles, plants, wires, number and poses of people, as well as the original natural lighting, shadows, and color atmosphere. Apply only light travel magazine-style color grading and extremely subtle film grain processing—it must still clearly be real photography. To fit the frame, you may naturally extend the sky, road surface, or quiet surroundings, but do not repaint buildings, moving figures, alter vehicles, stretch, mirror, or duplicate subjects. For the lower half, do not apply a paper filter to the original image with the same framing, nor use rectangular photo fragment collages. First, select from the photo the main street vanishing line, primary facades on both sides, and one to three objects most indicative of the location, such as pedestrians, vehicles, lanterns, umbrellas, wires, plants, signs, or roofs. Actively remove duplicate window panes, complex crowds, irrelevant small items, and photographic noise, then reorganize these elements into a scaled-down torn paper scene with clear outlines. The redrawn scene should occupy about 60%–82% of the lower section, centered or slightly offset to one side, with about 20%–35% continuous ivory paper surface retained around the edges. Readjust the size and visual hierarchy of subjects based on the original photo, making the most identifiable buildings, objects, or figures serve as anchors on the paper surface—do not copy the photo's full composition. In the white space, add a small torn paper circular window magnifying a real detail from the original image, connected to the main scene with a graphite arrow. Use hand-torn matte fiber paper, thin rice paper, corrugated paper, kraft paper, and a small amount of old printed paper pieced together to build facades, road surfaces, eaves, plants, sky, and figures. All main shapes must have clearly visible exposed fiber torn edges, slight overlaps, paper thickness, curled-up corners, and short, natural three-dimensional projections. Paper edges can be irregular, but the outer contours of the street and alley, road direction, building boundaries, and subject identities must be clear. Prohibit smooth vector cuts, laser-cut edges, and flat digital shadows. Colors should be entirely extracted from the upper photo, simplifying complex hues into five to seven grayscale paper tones, using the true dominant colors of walls, road surfaces, roofs, plants, and figures as the framework, retaining only one accent color like rust red, cobalt blue, olive green, or another from the original image for emphasis. Do not apply fixed Japanese travel color schemes to all locations. In the continuous bare paper areas, add a set of pencil annotations. Distill a 1–3 English word title based on the photo's identifiable location, road structure, lighting, weather, or actions; add the field "PAPER STUDY 01," numbering sequentially for multiple photos; then add a 5–12 English word observation sentence. The title should be clearly readable in normal chat previews, with the field and observation sentence smaller but not shrunken to gray lines. Text should be written directly on the paper like fine graphite or charcoal pencil, possibly with an arrow, not using smooth digital fonts. If the location cannot be confirmed, use a scene theme—do not fabricate place names, dates, or coordinates. Overall, it should resemble a single page from a work blending architectural observation, material experiments, and travel publishing: the street and alley instantly recognizable, paper layers authentic, boundaries clear, information pared down, with ample white space for breathing. Avoid bullet journal grids, rectangular photo collages, isomorphic paper filters, fully filled backgrounds, children's cutouts, generic travel icons, fictional landmarks, author names, accounts, logos, QR codes, watermarks, fake Chinese, and garbled text.