Promptbibliotheek

Turn each uploaded photograph into a separate high-end design poster. Do not combine multiple photographs; output each one independently. Use a 3:4 portrait composition divided into two horizontal regions of exactly equal height, each occupying 50% of the canvas. Keep the original photograph in the upper half, preserving the subject's identity, structure, pose, realistic texture, natural lighting and original colour atmosphere. Apply only subtle refined colour grading for an art-magazine and exhibition-image quality. Extend the surrounding environment naturally if the format requires it, but never stretch, distort or alter the subject. Extract only the photograph's most recognisable **subject, contour, structure, pose and narrative relationships** in the lower half, reconstructing them as **expressive red-and-blue coloured-pencil illustration** incorporating **Angular expressive figure line**. Do not reproduce the entire photo, retain every object or redraw objects one by one. Actively remove the vast majority of background, detail and irrelevant elements. Retain only the core information that best represents the original subject and theme; reinterpret it through angular expressive drawing, outlines, hatching, overlapping lines, rubbed marks and free curves, so its correspondence with the photograph above is instantly recognisable. Emphasise **angular expressive figure line**: clear changes of direction, directional movement, angularity and emotional tension, combined with natural hand-drawn pauses, repeated corrections, local scribbled tangles and imperfectly stable contours. Downplay traditional light-and-shadow sketching and complete volume modelling; establish the image through **linear form, expressive lines and local colour patches**. Use **hand-drawn coloured pencil + a limited palette**, primarily red and blue: red supplies the main visual weight and local colour masses, while blue supplies contours, shadows, detail and structural cues, creating a restrained, vivid duotone effect. Make a fresh artistic judgment in the lower half and genuinely give the model authority to redirect the composition. Even if the original composition is weak, its background cluttered or its subject small, rescue it as a successful work through **subtraction, rearrangement, cropping, changes of scale and whitespace**. The subject need not be complete or centred; it may sit off-centre, at an edge or partly cropped, retaining only the strongest visual core. Maintain **a small subject with exceptionally abundant whitespace**. Whitespace must be an intentional compositional language, not merely a blank background. Alongside the subject, lines, local colour patches and very few necessary elements, it creates breathing room, spatial depth and pauses. Prefer subtraction to filling the canvas; let the work feel quiet, restrained, open and resonant. Keep visible paper texture and the touch of coloured pencil: hatching, grain, slight rubbing and handmade unevenness, like independent-publication illustration or a work on paper. Avoid smooth vectors, photo filters, over-polishing and realistic tracing. Use only a very small amount of editorial text, with no restriction on language. Freely generate a few words or short phrases from the subject, mood, action or metaphor; place them quietly in the whitespace for a restrained, refined image–text relationship. The overall refined effect combines **limited colour, Angular expressive figure line, expressive drawing, paper texture, a small subject and exceptionally abundant artistic whitespace**. Avoid object-by-object copying, excessive background retention, complex scenes, complete realistic sketches, too many colours, filled canvases, cartoon effects and templated posters.