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 an ancient Chinese artifact ink rubbing / archaeological rubbing. Do not copy the whole photograph, retain every object, or apply an ordinary black-and-white filter or traced line drawing. Actively remove irrelevant details, keeping only the structure, directional flow and visual memory points that best represent the original. Compress them into core forms resembling stone carvings, shallow reliefs or ancient ornament, then reinterpret them through the logic of rubbing transfer so the connection to the upper photograph is immediately recognisable. Make new artistic judgments in the lower half and genuinely give the model the authority to redirect the composition. Even if the original composition is poor, the background messy or the subject small, rescue it as a convincing work through subtraction, rearrangement, cropping, scale changes and whitespace. The subject need not be complete: it may sit off-centre, touch an edge, float or be partly missing. Keep only the most powerful visual portion. Maintain a small subject against an exceptionally large expanse of whitespace. Whitespace must be deliberate compositional language, not empty background. Together with the subject, ink marks, broken edges and a few auxiliary traces, it creates positive and negative shapes, breathing room, space and pauses. Prefer less to fullness, and subtraction to excessive explanation. Let the subject resemble an ancient trace placed on a vast sheet of paper: quiet, restrained and resonant. Build the image through ink marks, blank areas and losses rather than complete outlines. Contours may break, disappear or vary in thickness. Black areas should show missing ink, dry-brush white gaps, grain, erosion, fissures and weathering, as if transferred from an artifact’s time-worn surface. The subject’s key structure must remain accurate, but many secondary details may deliberately vanish, making the image feel like a surviving trace rather than a modern illustration. Base the palette on warm white, off-white or natural paper colour plus deep ink black / grey-black. Use almost no conventional painted colour or gradients. Keep moderate paper fibres, old rubbing-paper grain and natural unevenness, while avoiding excessive yellowing and cheap artificial aging. Focus on the mottled tonal layers of ink transfer, not a noise filter. Let text intervene only minimally as an editorial element, with no restriction on language. Freely derive a few titles, notes or archival-style words from the subject, location, cultural meaning or mood. Place them quietly in whitespace or beside the rubbing’s edges, creating a refined archaeological-catalog relationship between typography and image. Use the visual language of Chinese archaeological ink rubbing / artifact rubbing / ancient relief rubbing / ink-on-paper rubbing. Combine selective extraction, incomplete ink marks, weathered traces, paper fibres, exceptional whitespace and editorial typography for a refined, ancient, restrained, mysterious and collectible effect. Avoid copying the whole photograph, retaining too much background, ordinary black-and-white line art, vector outlines, noise filters, filling the frame and template-based artificial aging.