A two-part designer poster featuring a real photo of a person on a bicycle by the sea and its graphic sketch

Prompt

Please create an individual high-end design poster for each photo I upload, outputting each photo separately without collaging. Use a 3:4 vertical composition, with the top and bottom areas strictly at a 1:1 height ratio, each occupying 50% of the frame.

The upper half should retain the original photo, preserving the subject's identity, structure, pose, realistic texture, natural lighting, and original color atmosphere. Apply only subtle, high-end color grading to give it the texture of an art magazine, independent publication, or exhibition image. To fit the aspect ratio, the background may be naturally extended, but the subject must not be stretched, distorted, or altered.

The lower half requires a fresh, independent artistic judgment and visual direction. Do not copy the original composition or trace the objects; first, understand the themes, structural trends, subject relationships, and visual memory points worth preserving, then recompose through subtraction, reorganization, cropping, scale changes, repositioning, and negative space. Even if the original subject is small, the background cluttered, or the composition ordinary, actively correct it so that the lower half stands as a complete, aesthetically sound work on its own.

Reconstruct the key subjects, partial structures, or related objects into a hand-drawn pencil sketch style thematic illustration. Use graphite pencil outlines, natural hatching, minimal cross-hatching, and light gray tones. The style should be slightly loose, naive, and possess an illustrative sketch feel, without pursuing academic realism or complex perspective. Draw only the most meaningful parts so that the correspondence with the photo above is immediately felt, without being a direct sketch copy of the photo.

The composition should emphasize a large amount of intentional negative space. Negative space is not just a background, but a compositional element as important as the subject. Arrange it freely based on the subject's direction, proportion, and visual center—it can be off-center, edge-aligned, suspended, enlarged, reduced, or partially cropped. Establish a sense of breath, space, and editorial order through positive/negative shapes, density, clustering, and asymmetrical balance. It is better to delete information than to fill the frame.

The overall color palette should be primarily black and white or natural graphite grayscale, with a very small amount of 1–2 accent colors extracted from the original photo for local emphasis. Text should only be used for minimal editorial intervention, without restrictions on language or fixed format. Freely generate a few words or short phrases based on the subject, location, mood, or metaphor, integrating them quietly into the negative space to form the layout together with the illustration.

The overall presentation should feature re-directed imagery, pencil hand-drawing, thematic combinations, active subtraction, extensive artistic negative space, and high-end editorial layout. Avoid photo replication, traditional academic sketching, complex backgrounds, crowded frames, overly dense details, mechanical layouts, and template-like aesthetics.

请将我上传的每一张照片分别制作成一张独立的高级设计海报，不多图拼接，每张照片单独输出。整体采用3:4竖版构图，上下两个区域高度严格1:1，各占画面50%。

上半部分保留原始照片，保持主体身份、结构、姿态、真实质感、自然光影和原有色彩氛围，仅进行轻微高级调色，使其具有艺术杂志、独立出版物与展览图像质感。为适配画幅，可自然扩展环境背景，但不得拉伸、扭曲或改变主体。

下半部分重新做一次独立的美术判断与画面导演。不要照搬原照片构图，也不要逐物转绘；先理解原图真正值得保留的主题、结构走势、主体关系和视觉记忆点，再通过删减、重组、裁切、尺度变化、位置调整和留白重新构图。即使原图主体很小、背景杂乱或构图普通，也应主动修正，使下半部分本身成为一张完整、成立、有审美判断的作品。

将保留下来的关键主体、局部结构或相关物件重构为手绘铅笔素描风格的主题组合插画。使用石墨铅笔轮廓、自然排线、少量交叉排线和轻微灰调，造型略带松动、稚拙和插画式速写感，不追求学院派写实与复杂透视。只画最有意义的部分，让人一眼感受到它与上方照片的对应关系，但不是照片的素描复制。

构图强调大量有意识的留白。留白不是背景，而是和主体同等重要的构成元素；根据主体方向、比例 and 视觉重心自由安排，可偏心、贴边、悬置、放大、缩小或局部裁切，通过正负形、疏密、聚散和不对称平衡建立呼吸感、空间感和编辑秩序。宁可删掉信息，也不要填满画面。

整体以黑白或自然石墨灰度为主，可极少量从原图提取1–2种识别色用于局部强调。文字只作少量编辑性介入，不限制语种与固定格式，可根据主体、地点、情绪或隐喻自由生成少量字词或短句，安静地融入留白，与插画共同构成版面。

整体呈现重新导演的画面、铅笔手绘、主题组合、主动删减、大量艺术留白与高级编辑排版。避免照片复刻、传统学院素描、复杂背景、画面填满、过密细节、机械排版和模板感。