Prompt
Description
Transform each input photograph into an independent photography-and-design comparison poster. Do not combine different photographs into a collage. The prompt should work for a wide variety of subjects and scenes, faithfully reflecting the original photograph rather than imposing a fixed theme. Canvas and Layout Use a 3:4 vertical canvas, divided strictly into two equal horizontal sections, each occupying 50% of the total height. Top section: Photography area. Bottom section: Design area. The two sections must meet directly at a clean, sharp horizontal boundary, with no gap, gradient, feathering, or overlap. All design elements and text must remain entirely within the design area. Do not add extra canvas space for the title. Recommended output: 1200 × 1600 pixels. The top section occupies y = 0–799, and the bottom section occupies y = 800–1599. For other output dimensions, maintain the same 50/50 division. Photography Area Treatment Preserve the original photograph's authentic photographic quality, subject identity and quantity, silhouettes, poses, proportions, key details, perspective, relative positioning, natural lighting, shadows, and original colors. Apply only subtle color grading. You may naturally crop secondary environmental details or slightly extend the background, provided that no essential subject is cropped out. Do not stretch, distort, mirror, duplicate, reposition, or redraw any subject. The photography area must contain no text, borders, paper textures, or decorative elements. Design Area: Woodcut-Style Rubber Stamp Print Translate the key subjects, silhouettes, and spatial relationships from the same photograph into a rubber-stamp-style printmaking design. Reinterpret the image using simplified engraved lines, clearly defined ink blocks, and carefully controlled negative space. Preserve the recognizability of the original subjects. Do not simply apply a printmaking filter to the photograph. Use lightly warm-toned paper as the base. You may include: A thin border with subtle imperfections. One small illustrated printmaking stamp. One text-free, decorative postmark motif. Keep all decorative elements restrained, entirely within the design area, and positioned so they do not obscure the main subject. Color Palette and Material Texture Extract the distinctive primary colors, secondary colors, and warm-cool relationships from the input photograph. Refine them into a harmonious, limited palette suitable for the printmaking process. Prioritize the original subject's distinctive color character. Avoid averaging the colors indiscriminately or applying a fixed color scheme unrelated to the photograph. Use a single dark ink color derived from the original photograph's shadow tones for the engraved lines. Use the subject's original inherent colors for the ink blocks. Introduce restrained ink depletion, subtle printing irregularities, and fine paper fibers. Maintain a pure printmaking aesthetic. Typography and Layout Place a short English serif title in the upper-left area of the design section, using the internal negative space. Add one short line of supporting text beneath the title. Do not create a separate title bar at the bottom. Generate the copy based on the identifiable subject and the emotional atmosphere of the photograph. Keep it concise, clear, and correctly spelled. If reliable information is unavailable, do not add place names, dates, or coordinates. Do not introduce new brands, signatures, or account names. Never display placeholders or fabricate information. Overall Aesthetic Quiet, restrained, refined, and reminiscent of a collectible art publication. Establish visual hierarchy through material texture, negative space, and the relationship between the subject and its surroundings. Negative Constraints Avoid the following: Combining different photographs into a collage. Altering the original subjects. Using unrelated scenes in the top and bottom sections. Cluttered or excessive decoration. A separate title bar. Garbled text or repeated text. Adding extra logos, signatures, or watermarks. Preserving the appearance of a photograph while merely applying a fake printmaking filter. Turning the photography area into an illustration. Allowing decorative elements to cross the boundary between sections. Excessive distressing, damage, or large areas of dirt. Removing or altering original logos and markings that are genuine details in the source photograph.
The Prompt
Transform each input photograph into an independent photography-and-design comparison poster. Do not combine different photographs into a collage. The prompt should work for a wide variety of subjects and scenes, faithfully reflecting the original photograph rather than imposing a fixed theme. Canvas and Layout Use a 3:4 vertical canvas, divided strictly into two equal horizontal sections, each occupying 50% of the total height. Top section: Photography area. Bottom section: Design area. The two sections must meet directly at a clean, sharp horizontal boundary, with no gap, gradient, feathering, or overlap. All design elements and text must remain entirely within the design area. Do not add extra canvas space for the title. Recommended output: 1200 × 1600 pixels. The top section occupies y = 0–799, and the bottom section occupies y = 800–1599. For other output dimensions, maintain the same 50/50 division. Photography Area Treatment Preserve the original photograph's authentic photographic quality, subject identity and quantity, silhouettes, poses, proportions, key details, perspective, relative positioning, natural lighting, shadows, and original colors. Apply only subtle color grading. You may naturally crop secondary environmental details or slightly extend the background, provided that no essential subject is cropped out. Do not stretch, distort, mirror, duplicate, reposition, or redraw any subject. The photography area must contain no text, borders, paper textures, or decorative elements. Design Area: Woodcut-Style Rubber Stamp Print Translate the key subjects, silhouettes, and spatial relationships from the same photograph into a rubber-stamp-style printmaking design. Reinterpret the image using simplified engraved lines, clearly defined ink blocks, and carefully controlled negative space. Preserve the recognizability of the original subjects. Do not simply apply a printmaking filter to the photograph. Use lightly warm-toned paper as the base. You may include: A thin border with subtle imperfections. One small illustrated printmaking stamp. One text-free, decorative postmark motif. Keep all decorative elements restrained, entirely within the design area, and positioned so they do not obscure the main subject. Color Palette and Material Texture Extract the distinctive primary colors, secondary colors, and warm-cool relationships from the input photograph. Refine them into a harmonious, limited palette suitable for the printmaking process. Prioritize the original subject's distinctive color character. Avoid averaging the colors indiscriminately or applying a fixed color scheme unrelated to the photograph. Use a single dark ink color derived from the original photograph's shadow tones for the engraved lines. Use the subject's original inherent colors for the ink blocks. Introduce restrained ink depletion, subtle printing irregularities, and fine paper fibers. Maintain a pure printmaking aesthetic. Typography and Layout Place a short English serif title in the upper-left area of the design section, using the internal negative space. Add one short line of supporting text beneath the title. Do not create a separate title bar at the bottom. Generate the copy based on the identifiable subject and the emotional atmosphere of the photograph. Keep it concise, clear, and correctly spelled. If reliable information is unavailable, do not add place names, dates, or coordinates. Do not introduce new brands, signatures, or account names. Never display placeholders or fabricate information. Overall Aesthetic Quiet, restrained, refined, and reminiscent of a collectible art publication. Establish visual hierarchy through material texture, negative space, and the relationship between the subject and its surroundings. Negative Constraints Avoid the following: Combining different photographs into a collage. Altering the original subjects. Using unrelated scenes in the top and bottom sections. Cluttered or excessive decoration. A separate title bar. Garbled text or repeated text. Adding extra logos, signatures, or watermarks. Preserving the appearance of a photograph while merely applying a fake printmaking filter. Turning the photography area into an illustration. Allowing decorative elements to cross the boundary between sections. Excessive distressing, damage, or large areas of dirt. Removing or altering original logos and markings that are genuine details in the source photograph.