Original style prompt

Please make every photo I upload into its own standalone high-end design poster; no multi-image collages, each photo output separately. The overall composition uses a 3:4 vertical format, with the upper and lower zones strictly 1:1 in height, each taking up 50% of the frame, and ensure this mode of expression can adapt to different subjects such as people, animals, architecture, still life, and natural scenes, rather than being limited to urban material.

The upper half keeps the original photo, preserving the subject's identity, action, spatial relationships, real texture, natural light and shadow, and original color atmosphere, applying only a slight high-end photographic color grade so that it carries the feel of magazine photography and art publications. To fit the frame, the sky, ground, or surrounding background may be extended naturally, but the subject must not be stretched, distorted, or altered.

The lower half extracts the most recognizable subject, outline, pose, and narrative relationships from the photo and reconstructs them into a fairy-tale printmaking-style hand-drawn image. Do not trace details mechanically; instead compress the subject into one or two clear large masses, and with a blunt, clumsy silhouette, slightly exaggerated proportions, and a few key edges, retain the identity, action, function, and emotion of the original object. From the content of the original image, distill a large-area low-brightness or high-contrast structural field to serve as the container, path, frame, or density layer wrapping the subject; the background grows out of the space and meaning of the original image like the shell in which the story takes place, forming a structural narrative of occlusion, cropping, engulfment, and partial exposure. The whole adopts a flat narrative perspective and a picture-book page hierarchy, and may use overhead compression, lateral movement, a frontal frame, path guidance, scale jumps, or edge cropping to organize the reading.

The colors are extracted from the photo above, and maintain a clear three-tier relationship: large areas of dark structural color carry weight and boundaries, a moderate amount of pale color or negative space carries breathing room, and small areas of highly saturated emotional color carry the reading route and the story signal. The most important information appears only as a few vivid color patches concentrated on the face, the pose, the path, an object's functional point, an environmental marker, or the narrative focus, and is always held down by dark structure or pale negative shapes, so the image is vivid yet not evenly weighted. The hues may be adjusted to the theme's mood, but the area proportions and the brightness order stay stable.

Lines appear only at function, path, boundary, texture, and points of recognition, staying sparse, hand-drawn, and slightly inaccurate thin lines. All color patches stay flat while keeping dry brush, grain, skipped white, paper texture, spray dots, and slight overprint misregistration, presenting a handmade texture completed jointly by screen printing and pastel crayon, and avoiding photorealistic light and shadow, complex volume, smooth vector edges, 3D rendering, and plastic texture.

The overall composition is concise, low in detail, and high in recognizability, with a dark field wrapping bright signals, holding both a cute narrative and the weight of printmaking. If the image contains text, the text may be treated as small markers, object panels, or edge annotations, kept minimal in quantity and subordinate to the graphic structure; the letterforms are round and blunt, slightly uneven in weight, low in density, with a natural handwritten feel, so they read as part of the image rather than as an explanation pasted on afterward. Overall, reference the temperament of fairy-tale picture books, handmade printmaking, editorial illustration, and art publications, presenting a unified, distinct, transferable authorial visual language.