Promptbibliotheek

Turn each uploaded photograph into its own independent, sophisticated design poster. Do not combine multiple photographs; output each separately. Use a 3:4 portrait composition, with upper and lower regions in 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, realistic texture, natural lighting, and original color atmosphere. Apply only subtle, refined color grading for an art-magazine and exhibition-image quality. The environmental background may be naturally extended to fit the format, but never stretch, distort, or alter the subject. In the lower half, extract only the photograph's most recognizable **subject, silhouette, structure, pose, and narrative relationships**, reconstructing them as a **one-point-perspective, hand-drawn interior-design rendering / architectural interior light-wash illustration**. Do not reproduce the whole photograph or retain every object. Remove irrelevant detail and keep only the structures, directional flow, and visual memory cues that best represent the original. Reinterpret them so their correspondence with the upper photograph is immediately recognizable. Use **one-point perspective + line and light wash** in the lower half. Delicate, restrained pen linework outlines the essential spatial structure, furniture, doors, windows, furnishings, plants, or other necessary elements associated with the subject. Apply extremely pale, transparent, low-intensity washes gently over them. The result should be closer to architectural line drawing / interior line and wash: clear perspective, quiet space, and restrained expression. Make fresh artistic judgments in the lower half and genuinely give the model authority to redirect the image. Even with poor source composition, a messy background, or a tiny subject, rescue it as a successful work through **subtraction, regrouping, cropping, changes of scale, and negative space**. The subject need not be complete and the original layout need not be restored. Position it freely according to its direction, proportions, and visual center of gravity: off-center, at an edge, or partially cropped. Maintain the relationship between **a small-scale focal subject and extraordinarily generous negative space**. Negative space is not an empty background but part of the image, working with the subject, lines, pale washes, and a few supporting elements to create breathing room, spatial presence, and pauses. Prefer drawing less to filling the frame. Retain only a little high-value information, giving the lower half a quiet, restrained, clear layout with a lingering resonance. Extract 2–4 of the upper photograph's most distinctive colors and organize them into a softer, cleaner, enduring light-wash system. Base it on off-white, pale gray, wood tones, pale green, and gentle warm colors or low-saturation neutrals. Moderately brighten, purify, and remove grayness as appropriate, maintaining a fresh, mild, natural spatial character. Avoid dirty gray, dullness, excessive retro styling, and high-saturation pops of color. Use text only as a very small editorial intervention, with no language restriction. Freely generate a few titles, annotations, or numbers based on the subject, place, action, or emotion. Place them quietly within the negative space, creating a refined relationship between imagery and typography. The overall sophisticated visual effect combines **one-point perspective, architectural linework, pale-wash rendering, redirected composition, extraordinarily generous intentional negative space, and editorial typography**. Avoid object-by-object redrawing, excessive background retention, a filled frame, complex realism, heavy watercolor, a cartoon or 3D look, and formulaic effects.