Promptbibliotheek

Turn each uploaded photograph into its own independent, refined design poster. Do not combine multiple photographs; output each one separately. Use a 3:4 portrait composition with two vertically stacked regions of strictly equal height, each occupying 50% of the image. Keep the original photograph in the upper half, preserving the subject's identity, structure, pose, authentic texture, natural light and shadow, and original color atmosphere. Apply only subtle, sophisticated color grading for the character of an art magazine or exhibition image. The surrounding environment may be extended naturally to fit the format, but never stretch, distort, or change the subject. In the lower half, extract only the photograph's most recognizable subject, silhouette, structure, pose, and narrative relationships, reconstructing them as a monochrome hand-drawn doodle illustration / playful journal-style illustration. Do not copy the whole photograph, retain every object, or redraw things one by one. Remove irrelevant details and keep only the structure, directional flow, and visual memory cues that best represent the original. Summarize them anew through bold contour lines, continuous outlines, single-color flat fills, negative space, and a few decorative symbols, so their relationship to the photograph above is immediately recognizable. Make fresh artistic judgments in the lower half and genuinely give the model authority to direct the image anew. Even if the original composition is poor, the background messy, or the subject small, rescue it into a successful artwork through subtraction, rearrangement, cropping, changes of scale, and negative space. The subject need not be complete or centered: it may sit off-center, hug an edge, float, or be partially cropped. Keep only the most important visual relationships, not everything. Maintain the relationship of a small-scale subject / stamp-like visual anchor plus exceptionally abundant negative space, freely placing it according to the subject's direction, proportions, and visual center of gravity. Negative space must be deliberate compositional language, not an empty backdrop: together with the subject, lines, decorative symbols, and text, it creates breathing room, spatial presence, and pauses. Prefer drawing less over filling the frame, making the “art of negative space” unmistakable. Use the logic of monochrome hand drawing on graph paper, as though made directly with a green water-based pen, marker, or fiber-tip pen. Lines may have a little awkwardness, childlike playfulness, and the pauses of a hand at work. People, buildings, animals, plants, objects, or landscapes should become simpler, more naive, more symbolic doodle forms rather than realistic illustration. A very few stars, dots, arcs, or short strokes may strengthen the rhythm, but must not compete with the subject. Keep a monochrome or near-monochrome color system, unifying the lower half with one fresh, pleasing, bright main color. Prefer gentle greens, or distill one particularly recognizable, approachable color from the upper photograph into single-color pen strokes. Use pale graph paper or a near-white paper surface as the main background. Keep the overall effect clean, light, and quiet; avoid dirty gray, gloom, multicolor clutter, and excessive realism. Let text make only a very small editorial intervention, without restricting language. Freely generate a few words or short phrases from the subject, location, action, emotion, or metaphor, settling naturally in the negative space like journal annotations and forming a light relationship with the imagery. The overall result should combine monochrome hand drawing, playful doodles, a journal feel, symbolic forms, a freshly directed composition, exceptionally abundant intentional negative space, and relaxed editorial typography into a refined visual effect. Avoid object-by-object copying, complex perspective, realistic tracing, retaining too much background, filling the frame, heavy backdrops, smooth vector graphics, a 3D feel, and formulaic poster design.