{"id":"32239","prompt":"Please turn each photo I upload into an individual high-end design poster, no multi-image stitching, each photo output separately. The overall composition adopts a 3:4 portrait format, with the top and bottom areas strictly 1:1 in height, each occupying 50% of the frame.\n\nThe upper part retains the original photo, maintaining the main structure, real texture, natural light/shadow, and original color atmosphere, with only slight professional photographic color grading to give it an art magazine, independent publication, or exhibition photography feel. To fit the aspect ratio, the sky, ground, or environmental background can be naturally extended, but the subject must not be stretched, distorted, or changed.\n\nThe lower part extracts the most recognizable **subject, silhouette, posture, and narrative relationship** from the photo, reconstructed with **isometric spatial logic**. It is not simply turning the original object into a 3D model, but dismantling the subject into clear blocks, levels, sections, and spatial relationships, recombining them in a unified isometric axis to have both the structural order of an architectural model and the visual generalization of an editorial illustration. The viewing angle, scale, and local structure can be moderately adjusted to better showcase the most representative form of the subject, but it must remain instantly recognizable.\n\nSimultaneously, extract a **thematic image** from the core content, action, structure, or symbolic relationship of the photo, geometrizing and symbolizing it to integrate into the isometric composition. The thematic image can serve as a base, a section, a spatial gap, a path, an enclosing structure, or a negative shape, allowing the subject to interact through penetration, fitting, suspension, cutting, support, or staggered layering. The theme is not an additional decoration but a compositional mechanism that determines how the subject exists in space.\n\nThe composition is adaptively designed based on the visual center of gravity, silhouette trend, and spatial characteristics of the subject, establishing a professional order through isometric axes, block proportions, hierarchical staggering, scale contrast, local cropping, and large areas of negative space. The subject does not need to be mechanically centered; it can be offset, suspended, or extended, so that the isometric structure and thematic image together form the sole visual center.\n\nThe subject uses **high-brightness, clear, and soft Japanese-style color palettes with delicate matte materials**. Colors are extracted and modulated from the most vibrant and representative spirits of the subject in the photo above, using soft white, cream white, or very light warm tones as the base, converting core colors into clean, bright, soft planes, distinguishing different blocks through tonal variations and minimal accent colors. Lighting is soft yet clear, using slight light and shadow to help read the structure, avoiding heavy 3D shadows, plastic materials, and muddy tones.\n\nThe background maintains a large amount of white space and incorporates **Leonardo da Vinci-style creative research marks**: silhouette sketches related to the subject, structural dismantling, partial enlargements, proportion lines, measurement lines, arrows, geometric deductions, natural observation line drawings, and micro-annotations, faintly distributed around the subject in pale pencil, ochre ink, or faded manuscript texture. The manuscript should be like thought tracks left by the design process, contrasting the precise isometric subject as 'rational product vs. emotional research process,' without forming a second visual center.\n\nText is also organized around the theme and spatial structure. Extract a short English title from the subject's identity, action, emotion, or symbolic meaning of the photo, paired with a minimal amount of location, status words, or micro-annotations. Text can be arranged along isometric axes, thematic image boundaries, structural sections, or manuscript auxiliary lines, in horizontal, vertical, staggered, interspersed, or hidden in negative shapes, making the text look like an information layer in design drawings and high-end art publications rather than an afterthought title.\n\nThe overall presentation features a visual temperament of **Thematic Metaphor × Isometric Spatial Order × Da Vinci-style Research Manuscript × Japanese Clear Colors × Eastern Negative Space × High-end Editorial Design**. Whether the subject is a person, animal, plant, building, object, food, vehicle, or natural landscape, it should find the most suitable isometric reconstruction method based on its own structure, avoiding ordinary 3D models, game scene vibes, axonometric engineering drawing vibes, cartoon low-poly, mechanical centering, e-commerce display vibes, and template-like feel.","promptEn":"Please turn each photo I upload into an individual high-end design poster, no multi-image stitching, each photo output separately. The overall composition adopts a 3:4 portrait format, with the top and bottom areas strictly 1:1 in height, each occupying 50% of the frame.\n\nThe upper part retains the original photo, maintaining the main structure, real texture, natural light/shadow, and original color atmosphere, with only slight professional photographic color grading to give it an art magazine, independent publication, or exhibition photography feel. To fit the aspect ratio, the sky, ground, or environmental background can be naturally extended, but the subject must not be stretched, distorted, or changed.\n\nThe lower part extracts the most recognizable **subject, silhouette, posture, and narrative relationship** from the photo, reconstructed with **isometric spatial logic**. It is not simply turning the original object into a 3D model, but dismantling the subject into clear blocks, levels, sections, and spatial relationships, recombining them in a unified isometric axis to have both the structural order of an architectural model and the visual generalization of an editorial illustration. The viewing angle, scale, and local structure can be moderately adjusted to better showcase the most representative form of the subject, but it must remain instantly recognizable.\n\nSimultaneously, extract a **thematic image** from the core content, action, structure, or symbolic relationship of the photo, geometrizing and symbolizing it to integrate into the isometric composition. The thematic image can serve as a base, a section, a spatial gap, a path, an enclosing structure, or a negative shape, allowing the subject to interact through penetration, fitting, suspension, cutting, support, or staggered layering. The theme is not an additional decoration but a compositional mechanism that determines how the subject exists in space.\n\nThe composition is adaptively designed based on the visual center of gravity, silhouette trend, and spatial characteristics of the subject, establishing a professional order through isometric axes, block proportions, hierarchical staggering, scale contrast, local cropping, and large areas of negative space. The subject does not need to be mechanically centered; it can be offset, suspended, or extended, so that the isometric structure and thematic image together form the sole visual center.\n\nThe subject uses **high-brightness, clear, and soft Japanese-style color palettes with delicate matte materials**. Colors are extracted and modulated from the most vibrant and representative spirits of the subject in the photo above, using soft white, cream white, or very light warm tones as the base, converting core colors into clean, bright, soft planes, distinguishing different blocks through tonal variations and minimal accent colors. Lighting is soft yet clear, using slight light and shadow to help read the structure, avoiding heavy 3D shadows, plastic materials, and muddy tones.\n\nThe background maintains a large amount of white space and incorporates **Leonardo da Vinci-style creative research marks**: silhouette sketches related to the subject, structural dismantling, partial enlargements, proportion lines, measurement lines, arrows, geometric deductions, natural observation line drawings, and micro-annotations, faintly distributed around the subject in pale pencil, ochre ink, or faded manuscript texture. The manuscript should be like thought tracks left by the design process, contrasting the precise isometric subject as 'rational product vs. emotional research process,' without forming a second visual center.\n\nText is also organized around the theme and spatial structure. Extract a short English title from the subject's identity, action, emotion, or symbolic meaning of the photo, paired with a minimal amount of location, status words, or micro-annotations. Text can be arranged along isometric axes, thematic image boundaries, structural sections, or manuscript auxiliary lines, in horizontal, vertical, staggered, interspersed, or hidden in negative shapes, making the text look like an information layer in design drawings and high-end art publications rather than an afterthought title.\n\nThe overall presentation features a visual temperament of **Thematic Metaphor × Isometric Spatial Order × Da Vinci-style Research Manuscript × Japanese Clear Colors × Eastern Negative Space × High-end Editorial Design**. Whether the subject is a person, animal, plant, building, object, food, vehicle, or natural landscape, it should find the most suitable isometric reconstruction method based on its own structure, avoiding ordinary 3D models, game scene vibes, axonometric engineering drawing vibes, cartoon low-poly, mechanical centering, e-commerce display vibes, and template-like feel.","promptZh":"请将我上传的每一张照片转化为一张独立的高端设计海报，不要进行多图拼接，每张照片需单独输出。整体构图采用 3:4 竖构图，顶部和底部区域高度比例严格为 1:1，各占画面的 50%。\n\n上部保留原始照片，维持主体结构、真实质感、自然光影和原始色彩氛围，仅进行轻微的专业摄影调色，使其具有艺术杂志、独立出版物或展览摄影的质感。为适配长宽比，天空、地面或环境背景可以自然延伸，但主体不得拉伸、变形或改变。\n\n下部从照片中提取最具辨识度的**主体、轮廓、姿态和叙事关系**，并以**等轴测空间逻辑**进行重构。这不仅仅是将原始物体转化为 3D 模型，而是将主体拆解为清晰的块面、层级、截面和空间关系，并在统一的等轴测轴线上重新组合，使其既具备建筑模型的结构秩序，又拥有编辑插画的视觉概括力。视角、比例和局部结构可以适度调整，以更好地展示主体最具代表性的形态，但必须保持一眼可辨。\n\n同时，从照片的核心内容、动作、结构或象征关系中提取一个**主题意象**，将其几何化和符号化，融入等轴测构图中。主题意象可以作为基座、截面、空间缝隙、路径、围合结构或负形，让主体通过穿透、嵌入、悬浮、切割、支撑或错位层叠与之产生互动。主题不是额外的装饰，而是决定主体如何在空间中存在的构图机制。\n\n构图根据主体的视觉重心、轮廓趋势和空间特征进行自适应设计，通过等轴测轴线、块面比例、层级错落、比例对比、局部裁切和大面积留白建立专业秩序。主体无需机械居中；它可以偏置、悬浮或延伸，使等轴测结构与主题意象共同构成唯一的视觉中心。\n\n主体采用**高明度、清晰且柔和的日式配色方案，并配以细腻的哑光材质**。色彩从上方照片中主体最鲜活、最具代表性的精神内核中提取并调制，以柔和白、奶油白或极浅的暖色调为基底，将核心色彩转化为干净、明亮、柔和的平面，通过色调变化和极简的点缀色来区分不同的块面。光影柔和而清晰，利用轻微的光影辅助结构阅读，避免厚重的 3D 阴影、塑料质感和浑浊的色调。\n\n背景保持大面积留白，并融入**列奥纳多·达芬奇风格的创意研究痕迹**：与主体相关的轮廓草图、结构拆解、局部放大、比例线、测量线、箭头、几何推演、自然观察线稿和微型注释，以浅铅笔色、赭石墨色或褪色的手稿质感淡淡地分布在主体周围。手稿应如同设计过程中留下的思维轨迹，与精确的等轴测主体形成“理性产品 vs 感性研究过程”的对比，且不构成第二个视觉中心。\n\n文字也围绕主题和空间结构进行组织。从照片主体的身份、动作、情感或象征意义中提取一个简短的英文标题，搭配少量的位置、状态词或微型注释。文字可以沿等轴测轴线、主题意象边界、结构截面或手稿辅助线排列，采用水平、垂直、错落、穿插或隐藏在负形中的方式，使文字看起来像是设计图纸和高端艺术出版物中的信息层，而非事后添加的标题。\n\n整体呈现出**主题隐喻 × 等轴测空间秩序 × 达芬奇风格研究手稿 × 日式清透配色 × 东方留白艺术 × 高端编辑设计**的视觉气质。无论主体是人物、动物、植物、建筑、物体、食物、交通工具还是自然景观，都应根据其自身结构找到最合适的等轴测重构方法，避免平庸的 3D 模型、游戏场景感、轴测工程图感、卡通低多边形、机械居中、电商展示感和模板化痕迹。"}