Promptbibliotheek

Please turn each photograph I upload into its own independent, sophisticated design poster. Do not combine multiple photos; output each separately. Use an overall 3:4 portrait composition, divided into upper and lower regions with a strict 1:1 height ratio, each occupying 50% of the canvas. Keep the original photograph in the upper half, preserving the subject's identity, structure, pose, authentic texture, natural light and shadow, and original colour atmosphere. Apply only subtle, refined colour grading for the quality of an art magazine, independent publication, or exhibition image. The environmental background may be extended naturally to fit the frame, but do not stretch, distort, or alter the subject. For the lower half, make a fresh, independent artistic judgement and direct the image anew. Do not copy the photograph's composition or redraw its objects one by one. First understand the theme, structural movement, subject relationships, and visual memories genuinely worth keeping, then recompose through removal, rearrangement, cropping, scale changes, repositioning, and whitespace. Even if the original subject is tiny, the background cluttered, or the composition ordinary, actively improve it so the lower half becomes a complete, convincing work with its own aesthetic judgement. Reconstruct the retained key subjects, partial structures, or related objects as a thematic assemblage illustration in hand-drawn pencil sketch style. Use graphite pencil contours, natural hatching, a little cross-hatching, and light grey tones. Forms should feel slightly loose, naive, and like an illustrative quick sketch rather than pursuing academic realism or complex perspective. Draw only the most meaningful parts so the connection to the photograph above is instantly felt, without making a pencil copy of the photograph. Emphasise abundant intentional whitespace. Whitespace is not a background but a compositional element as important as the subject. Arrange it freely according to the subject's direction, proportions, and visual centre of gravity: off-centre, edge-adjacent, suspended, enlarged, reduced, or partially cropped. Establish breathing room, spatial depth, and editorial order through positive and negative shapes, density and openness, clustering and dispersal, and asymmetrical balance. Prefer removing information to filling the canvas. Use mainly black and white or natural graphite greys, with a very small amount of 1–2 recognisable colours drawn from the original image for local emphasis if appropriate. Text should be a minor editorial intervention, with no fixed language or format. Freely generate a few words or short phrases based on the subject, location, mood, or metaphor, quietly integrating them into the whitespace to compose the layout alongside the illustration. The overall result should convey a newly directed image, pencil drawing, thematic assemblage, active subtraction, generous artistic whitespace, and refined editorial typography. Avoid photographic replication, traditional academic drawing, complex backgrounds, a filled canvas, excessive detail, mechanical layouts, and a template-like feel.