{"id":"32241","prompt":"Process similarly:\n\nPlease 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.\n\nThe 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.\n\nThe 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.\n\nWhen 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.\n\nThe 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.\n\nThe 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.\n\nThe 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.\n\nText 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.\n\nThe 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.\n\nMaintain 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.","promptEn":"Process similarly:\n\nPlease 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.\n\nThe 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.\n\nThe 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.\n\nWhen 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.\n\nThe 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.\n\nThe 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.\n\nThe 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.\n\nText 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.\n\nThe 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.\n\nMaintain 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.","promptZh":"处理流程如下：\n\n请将我上传的每一张照片转换为独立的高端设计海报，每张照片单独输出，不要进行多图拼接。整体构图采用 3:4 竖向布局，上下区域严格按 1:1 分割，各占画面 50%。\n\n上半部分保留原始照片，维持主体身份、结构、比例、透视、方向、真实感、自然光影及原始色彩氛围，仅进行轻微的高端摄影调色，使其具备艺术杂志、独立出版物或展览摄影的质感。为适配画幅，天空、地面或环境背景可自然延伸，但主体不得拉伸、变形或更改，不得混入其他物体或替换原始内容。\n\n下半部分提取照片中最具辨识度的主体、轮廓、姿态及叙事关系，遵循等轴测逻辑将其重构为结构解构水彩研究图。上传的原始照片是唯一依据；主体的身份、几何形态、比例、观察方向、空间关系、主色调及比例参考必须仅源自原图。请勿直接粘贴照片，也不要制作对比图、拼贴画或摄影切片。\n\n重绘时，首先识别核心主体、主轴线、原始观察方向、前中后景关系、3-7 个最重要的识别特征、4-6 种主色调以及反映比例的环境线索。保留主体的整体轮廓、大致比例、原始透视、对称或非对称关系、关键组件关系、身份定义细节及主要材质颜色，确保其能被一眼认出与上半部分为同一对象。\n\n主体采用等轴测重绘逻辑，以清晰、克制且专业的轴测空间表达进行重组，同时忠实于原始照片的结构关系和观察逻辑。根据主体的实际结构，将其解构为 2-5 个有意义的完整层级或组件：建筑、器皿或组合物体可沿屋顶、楼层、外壳、框架、底座、模块或连接件进行解构；景观或空间可按前、中、后景及空间围合层展开；人物、动物或植物应保持物理完整，仅通过重叠轮廓、姿态层、动作线和表面色块来表达——禁止肢解、剖析或机械拆分。所有层级应沿真实轴线或透视方向克制地分离，保持均匀适度的间距，共享同一中心轴和空间网格，并保留一个完整、稳定且最详尽的基准或锚点区域，以便观众在脑海中重组主体。\n\n下半部分的构图保持专业、克制且具有编辑感。主体根据原图重心居中或略微偏移，周围留有充足的留白。稳定的基准位于底部或中心，分离的结构层沿真实轴线向向上、向外或向深度方向扩展。避免戏剧性的碎片化、过度的爆炸图、无意义的装饰和机械拆卸。整体外观应为高度完成的研究型编辑海报，而非工程手册。\n\n绘画语言采用暖色调象牙白水彩纸背景上的建筑结构解构水彩研究风格，结合清晰的线条、半透明水彩块、少量结构辅助线和克制的分析标记。保留轻微的纸张纹理、细腻的笔触、透明的层叠色彩和合理的留白，使其既具备研究图表的智性，又兼具艺术出版物的优雅。色彩提取自原始照片并适当提纯，保持清晰、准确、克制且富有灵气，避免灰暗、浑浊、沉重、过度渲染或廉价的 CG 感。\n\n文字作为研究图表/编辑注释的一部分自然介入。从照片中主体的身份、主题、动作、状态或象征意义中提取一个简短标题，并配以少量的编号、结构标记、侧向注释、材质词、状态词或微型描述。文字保持纤细、克制且专业，沿轴线、层叠方向、留白边缘或结构注释位置横向、纵向或偏移排列，使其看起来像是建筑研究、水彩观察与高端编辑设计的融合，而非标准的海报标题。\n\n整体呈现出等轴测结构逻辑、专业的解构顺序、水彩研究质感、编辑留白和高端出版物氛围。无论主体是建筑、人物、动物、植物、物品、车辆、街景、室内还是自然景观，下半部分都应从原始照片自身的结构中生长出最合适的解构方式，保持高度的适应性和可移植性。避免模板化的爆炸图、复杂的科技 UI、肢解感、机械零件、卡通感、电商感和毫无根据的结构虚构。\n\n在真实主体、核心意义、微叙事、朴素线条与大量留白之间保持平衡。无论原图是人、动物、植物、食物、建筑、物体、车辆还是自然场景，请先把握“这张照片真正表达的是什么”，再决定如何重构，避免只捕捉物体而忽略关系，避免无主题的可爱互动、卡通贴纸感、复杂装饰和模板化感觉。"}