Promptbibliotheek

Turn each uploaded photograph into a separate, sophisticated design poster. Do not combine multiple photographs; output each one individually. Use a 3:4 portrait composition, with the upper and lower regions strictly equal in 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 light and shade, and original colour atmosphere. Apply only subtle, refined colour grading for an art-magazine and exhibition-image finish. The surrounding environment may be extended naturally to fit the canvas, but never stretch, distort or change the subject. In the lower half, extract only the photograph’s most recognisable subject, silhouette, structure, pose and narrative relationships, and reconstruct them as experimental hand-drawn street-poster illustration / Zine-style Street Illustration. Do not copy the entire photograph, redraw every object or retain all objects and backgrounds. Remove irrelevant details, keeping only the structures, directional flow and visual memory cues that best represent the original. Reinterpret them through hand-drawn linework, limited spot colours, simulated Riso / screen-print textures, moderately exaggerated distortions and collage-based layout, so their connection to the photograph above is immediately recognisable. Make fresh art-direction decisions for the lower half. Even if the source composition is weak, its background cluttered or its subject small, actively use subtraction, rearrangement, cropping, scale changes and whitespace to make a convincing standalone work. Give the model real authority to redirect the image. Maintain a small subject against extensive whitespace. The reinterpreted graphic should be a small, concentrated visual anchor, positioned freely according to the subject’s direction, proportions and visual centre of gravity: off-centre, along an edge, suspended or partially cropped. Whitespace must be an intentional compositional language, not an empty background. Together with the subject, lines, colour blocks and a few supporting elements, it creates breathing room, space, pauses and asymmetric balance. Subtract rather than fill. Combine rough hand-drawn linework, flat colour blocks, print grain and collage typography. Keep lines direct, spontaneous and slightly imperfect. Use predominantly flat fills, supported by hatching, grain, irregular colouring and slight registration errors. A few grids, arrows, symbols, small graphics, numbers, sticker-like labels or street-magazine information fragments may be added, but every element must serve the composition; avoid meaningless decorative accumulation. Use a limited Spot Color logic: extract 2–4 of the most recognisable colours from the photograph above and reorganise them into a more vivid street-print palette. A small selection of cool blue, teal, grey, fluorescent yellow-green and acidic accents can create contrasts recalling skate magazines, streetwear and Y2K graphics. Be bold, crisp, youthful and impactful, while avoiding muddy greys, cheap neon and uncontrolled saturation. Text is only a small editorial intervention, with no language restriction. Based on the subject, place, action, mood or metaphor, freely generate a few titles, short phrases, numbers or notes. Use lettering and layout with uneven stroke weights, handmade imperfections and a street-publication character, integrating image and text in a zine / skate-poster relationship rather than a conventional commercial-poster headline. The final sophisticated visual combines hand-drawn lines, limited spot colours, rough printing, experimental distortion, street-collage layout and vast open space. Avoid object-by-object tracing, excessive retained background, filled canvases, complex realism, smooth commercial vectors, e-commerce styling, template-like posters and uncontrolled decorative clutter.