Process similarly:
Please transform each photo I upload into an independent high-end design poster, outputting each photo individually without multi-image stitching. The overall composition should use a 3:4 vertical layout, with the upper and lower areas split strictly 1:1, each occupying 50% of the frame.
The upper part retains the original photo, maintaining the subject's identity, structure, proportions, perspective, orientation, realism, natural lighting, and original color atmosphere, with only slight high-end photographic color grading to give it the texture of an art magazine, independent publication, or exhibition photography. To fit the frame, the sky, ground, or environmental background can be naturally extended, but the subject must not be stretched, distorted, or changed, and no other objects should be mixed in or original content replaced.
The lower part extracts the most recognizable subject, outline, pose, and narrative relationship from the photo, reconstructing it as a structural deconstruction watercolor study following isometric logic. The uploaded original photo is the sole basis; the subject's identity, geometric form, proportions, observation direction, spatial relationship, primary colors, and scale references must come only from the original image. Do not paste the photo directly, and do not create before-and-after comparisons, collages, or photographic slices.
When redrawing, first identify the core subject, main axes, original observation direction, foreground/midground/background relationships, 3–7 most important identifying features, 4–6 primary colors, and environmental cues that reflect scale. Retain the subject's overall silhouette, general proportions, original perspective, symmetrical or asymmetrical relationships, key component relationships, identity-defining details, and primary material colors, so that it is instantly recognizable as the same object from the upper half.
The subject adopts isometric redrawing logic, reorganized with clear, restrained, and professional axonometric spatial expression, while remaining faithful to the original photo's structural relationships and viewing logic. Based on the subject's actual structure, deconstruct it into 2–5 meaningful complete levels or components: buildings, vessels, or combined objects can be deconstructed along roofs, floors, shells, frames, bases, modules, or connectors; landscapes or spaces can be unfolded by foreground, midground, background, and spatial enclosure layers; humans, animals, or plants should remain physically whole, expressed only through overlapping outlines, pose layers, action lines, and surface color blocks—dismemberment, dissection, or mechanical partitioning is prohibited. All layers should be separated with restraint along real axes or perspective directions, with uniform and moderate spacing, sharing the same central axis and spatial grid, and retaining one complete, stable, and most detailed base or anchor area so the audience can reassemble the subject in their mind.
The lower part's composition remains professional, restrained, and editorial. The subject is centered or slightly offset according to the original photo's center of gravity, with ample white space around it. The stable base is located at the bottom or center, and the separated structural layers expand upward, outward, or toward the depth along real axes. Avoid dramatic fragmentation, excessive exploded views, meaningless decoration, and mechanical disassembly. The overall look should be a highly finished research-oriented editorial poster rather than an engineering manual.
The painting language adopts the character of an architectural structural deconstruction watercolor study on a warm ivory watercolor paper background, combining clear line work, semi-transparent watercolor blocks, a few structural auxiliary lines, and restrained analytical markings. Retain slight paper grain, detailed brushstrokes, transparent layered colors, and rational white space to give it both the intellectual feel of a research diagram and the elegance of an art publication. Colors are extracted from the original photo and appropriately purified, remaining clear, accurate, restrained, and spirited, avoiding gray, muddy, heavy, over-rendered, or cheap CG effects.
Text naturally intervenes as part of the composition in the manner of research diagrams/editorial annotations. Extract a short title from the subject's identity, theme, action, state, or symbolic meaning from the photo, and pair it with a minimal amount of numbering, structural markers, lateral annotations, material words, state words, or miniature descriptions. The text remains slender, restrained, and professional, arranged horizontally, vertically, or in offset patterns along axes, layering directions, white space edges, or structural annotation positions, making it look like a blend of architectural research, watercolor observation, and high-end editorial design rather than a standard poster title.
The overall presentation features isometric structural logic, professional deconstructive order, watercolor study texture, editorial white space, and a high-end publishing vibe. Whether the subject is architecture, humans, animals, plants, objects, vehicles, street scenes, interiors, or natural landscapes, the lower half should grow the most appropriate deconstruction method from the original photo's own structure, maintaining high adaptability and portability. Avoid templated exploded views, complex tech UIs, feelings of dismemberment, mechanical parts, cartoonishness, e-commerce vibes, and unfounded structural fabrications.
Maintain a balance between the real subject, core meaning, micro-narrative, naive lines, and a large amount of white space. Regardless of whether the original image is a person, animal, plant, food, building, object, vehicle, or natural scene, first grasp "what this photo is truly about" before deciding how to reconstruct it, avoiding just capturing the object without the relationship, doing cute interactions without a theme, cartoon sticker vibes, complex decoration, and a templated feel.
