Promptbibliotheek

Turn each photograph I upload into its own independent high-end design poster. Do not combine photographs; output each separately. Use an overall 3:4 portrait composition with two 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, real textures, natural light and shadow, and original colour atmosphere. Apply only subtle refined grading for the feeling of an art magazine, independent publication or exhibition image. Naturally extend the environmental background if needed to fit, but never stretch, distort or change the subject. In the lower half, extract only the photograph’s most recognisable subject, contours, structure, pose and narrative relationships, reconstructing them as a two-spot-colour, misregistered hand-drawn illustration / Risograph-like duotone editorial illustration. Do not copy the whole photograph or redraw every object. Actively remove the vast majority of background and secondary information, retaining only the structural flow and visual memory points that best represent the original. Reinterpret them through partial flat fills, open contours, negative space and a few lines, so the connection to the upper photograph is immediately recognisable. Make independent art-direction and compositional decisions for the lower half. Even if the original composition is ordinary, the background cluttered or the subject too small, do not copy it. Establish a new composition through subtraction, rearrangement, cropping, scale changes, repositioning and whitespace. The subject may be off-centre, touch an edge, float or be partially cropped; it need not appear complete. Retain only one clear visual focus. Prefer bold deletion to filling the layout merely to explain the original scene. Maintain a small, stamp-like subject against an exceptionally large expanse of whitespace. Whitespace is not empty background but a compositional element as important as the subject. Use positive and negative shapes, concentration and dispersal, direction and asymmetrical balance to create breathing room, distance and spatial tension. Let the subject and the few other elements actively make room for each other, keeping the entire lower half quiet, open and resonant. Use a strict two-spot-colour system: one ink carries planes, mass and partial shadows; the other carries contours, structure and visual emphasis. Choose and reformulate the two most expressive colour relationships from the upper photograph rather than mechanically assigning inks to objects’ real colours. Fills may remain incomplete, with contours and colour planes decoupled. Retain slight registration offsets, uneven ink density, broken ink, grain, paper absorption and fibre texture for a convincing paper-based Risograph / screen-print effect. Let text intervene only minimally as an editorial element, with no restriction on language. Freely derive a few words or short phrases from the subject, place, action, emotion or metaphor. Place them quietly in the broad whitespace, creating a refined image–text rhythm without a fixed headline template or information pile-up. The overall high-end effect combines selective extraction, two spot colours, separated planes and lines, misregistered overprinting, a small subject, exceptional whitespace and editorial typography. Core principle: do not draw the photograph again. Understand it, remove most of its content, then redirect it into a more convincing work.