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.

The upper half keeps the original photo, preserving the subject's structure, real texture, natural light and shadow, and original color atmosphere, applying only a slight high-end photographic color grade so that it carries the texture of art magazines, independent publications, and exhibition photography. To fit the frame, the environmental 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 as a minimalist black-and-white hand-drawn editorial illustration. Use a horizontal or vertical solid-black rectangular color field as the main visual field, placing most of the subject inside the rectangle while selecting the most recognizable head, upper outline, branches and leaves, roof, limbs, edge of an object, or other key structure to break naturally beyond the rectangle's boundary, creating a clear “boundary-crossing” relationship. The subject is not pasted onto the black rectangle; it appears to reach out from, pass through, or grow out of the black space, making the rectangle both a background and part of the composition.

Retain only the subject's most essential outer contour, pose, and key structures, expressed through black hand-drawn lines + white negative shapes + a small number of gray planes. The lines should resemble brush-and-ink, technical pen, or photocopied line art, with slight variation in thickness and edges showing subtle wobble, breaks, repeated strokes, and handmade imperfections; do not pursue smooth vector precision. Keep internal details extremely sparse, using only a few strokes for expressions, structural lines, angular lines, or local shadows to establish recognizability. Whether the subject is a person, animal, plant, building, object, or landscape, prioritize identifying one local feature with the most character as the boundary-crossing focal point.

The composition emphasizes the conflict between the geometric order of the black rectangle and the subject's free-form outline. The rectangle serves as a stable, weighty visual base, while the subject creates vitality through asymmetrical placement, partial cropping, and boundary crossing. A large expanse of blank white paper surrounds the black area, allowing black, white, and gray to form a strong yet restrained proportional relationship. Supporting structures may be transformed into a very small number of straight lines, slanted planes, platforms, edges, or geometric slices, but must not form a second subject.

The text establishes a light black-and-white editorial micro-typography system. Distill a short title from the photo's movement, emotion, state, or metaphor, and pair it with 1–3 groups of extremely small annotations, numbers, status words, or short phrases. The text may sit close to the edge of the black rectangle, hide within negative shapes, follow the direction of the boundary crossing, or align and misalign with the subject's outline. Use black handwritten lettering, slender sans-serif type, or restrained serif type, keeping it at a small scale so that the text resembles an illustrator's signed notes and editorial marks rather than a commercial title.

The overall work presents a visual character of pure white paper × black geometric color field × naïve hand-drawn lines × subject crossing the boundary × minimal grayscale: humorous, restrained, intelligent, slightly eccentric, and imbued with the feel of art publishing. Avoid colorful cartoons, complex scenes, smooth vector outlines, realistic light and shade, 3D texture, solid-black silhouettes, tidy iconization, and formulaic centered compositions.