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 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 **mixed-media collage on paper**. Do not copy objects one by one, retain every object or reproduce the original scene. Actively remove most irrelevant background and detail, retaining only the structure, directional flow and visual memory points that best represent the original. Reinterpret them through **paper collage, hand-drawn linework, a few colour blocks, printed-text fragments and whitespace**, so the connection to the upper photograph is immediately recognisable. Make **new artistic judgments** in the lower half. 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**, genuinely giving the model authority to redirect the composition. The subject need not be complete or centred; it may sit off-centre, touch an edge, float or be partially cropped. Maintain a **small subject / large expanse of whitespace** relationship. Compress the subject into a relatively small yet clear visual focus and leave much of the remaining space open. **Whitespace must be deliberate compositional language**, not empty background. Together with the subject, pasted paper, lines, text fragments and a few colour blocks, it creates breathing room, spatial depth, pauses and refined layout order. Prefer less to filling the frame. Use **collage + mixed materials + hand-drawn lines**. Torn and pasted book pages, newspaper, printed text or paper pieces may combine with pencil, graphite, charcoal, ink lines, light colour or thin watercolour. Lines may be loose, broken, repeated, doodle-like and visibly handmade. Rather than academic precision, emphasise observation, rhythm and a naive aesthetic. Collage is not decoration: it helps construct both form and composition together with lines and colour blocks. Extract **2–4 of the most identifiable colours that best express the subject’s character** from the upper photograph. Moderately brighten and purify them, reducing muddiness, then use them with restraint. Colour may appear as thin washes, local blocks or coloured collage paper. Keep the overall impression fresh, natural and connected to everyday life; avoid dark muddiness, dullness, cheap nostalgia and excessive saturation. Let text intervene only minimally as an editorial element, with no restriction on language. A few titles, short phrases, numbers, printed-text fragments or annotations may fit naturally into the composition, forming a refined relationship with subject and whitespace rather than a menu-like stack of headings. The overall high-end effect combines **selective extraction, mixed-media paper collage, hand-drawn linework, fragmented construction, exceptional artistic whitespace and editorial typography**. Avoid object-by-object redrawing, too much retained background, information pile-up, filling the frame, smooth vectors, a 3D appearance, commercial templates, cheap scrapbook styling and childish cartoons.