Promptbibliotheek

Turn each uploaded photograph into its own independent, refined design poster. Do not combine multiple photographs; output each separately. Use a 3:4 portrait composition with two vertically stacked regions of strictly equal height, each occupying 50% of the canvas. Preserve the original photograph in the upper half, maintaining the subject’s identity, structure, pose, authentic texture, natural lighting and original colour atmosphere. Apply only subtle, refined colour grading for an art-magazine or exhibition-image quality. The surrounding environment may be extended naturally to fit the format, but never stretch, distort or alter the subject. Extract only the photograph’s most recognisable subject, silhouette, structure, pose and narrative relationships for the lower half, reconstructing them as pen-and-wash / ink-line-and-wash architectural and scene illustration. Do not copy the whole photograph, redraw every object or retain all objects and backgrounds. Remove most irrelevant details, keeping only the structure, directional flow and visual memories that best represent the original object and theme, making their correspondence with the photograph above immediately recognisable. Use extensive open space and a tiny subject in the lower half. The transformed subject is a carefully placed, small but definite visual point, quietly resting in generous whitespace like a postage cancellation. It may be off-centre, near an edge, suspended or partially cropped; arrange it freely according to its direction, proportions and visual centre of gravity. Whitespace is an important part of the picture itself, working with the subject, lines, colour planes and minimal text to create breathing room, space, pauses and asymmetric balance. Even with a weak original composition, cluttered background or small subject, redirect it into a convincing work through subtraction, rearrangement, cropping, scale changes and whitespace. Follow Urban Sketch / Line-and-Wash Illustration logic. Primarily use black fountain-pen, technical-pen or ink lines to describe buildings, people, vehicles, plants or scene structures. Lines should have natural hand-drawn wobble and personal marks, without mechanical precision. Add a little light wash and flat colour in a limited warm palette: brick red, orange-brown, ochre, black and white, with very small red, yellow or other accents. Colour should feel restrained, simple and warm, with the character of travel journals, vintage architectural sketches and art prints. Perspective and proportions may be moderately flattened, simplified and decorative; avoid academic realism and excessive refinement. Retain visible paper grain and a hand-drawn paper quality in the background, resembling a hand-drawn urban sketch, architectural travel illustration or vintage light-wash art poster. Use only minimal editorial text, with no language restriction. Generate a few words or short phrases from the subject, place, emotion or metaphor, using small, restrained, bookish and breathable poetic typography. Place it quietly in the whitespace, at a distance from the image, without piling up commercial headlines. The overall effect combines extensive open space, a miniature subject, pen-and-ink lines, warm light washes, paper texture and poetic typography. Avoid copying complete scenes, retaining too much background, filling the canvas, mechanical perspective, excessive realism, watercolour flooding the entire page, complex detail, cartoon or 3D effects and poster templates.