Original style prompt

Please turn each photo I upload into a separate high-end design poster, without multi-image collage, and output each photo separately. The overall composition uses a 3:4 vertical format and continues the upper-and-lower two-layer logic: the upper half is real photography, while the lower half is a geometric reconstruction of the original image's core imagery, creating an interplay between reality and memory above and below.

The upper half retains the original photo, preserving the subject's identity, structure, pose, realistic texture, natural light and shadow, and original color atmosphere, with only slight high-end photographic color grading to give it the texture of an art magazine, independent publication, and exhibition photography. To fit the format, 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, then further determines the core theme, visual metaphor, or aesthetic relationship that truly makes the original image work, retaining only this most memorable layer of information for recreation. Do not fully reproduce the scene, do not pursue realistic depiction, and do not convert every object into an illustration one by one; proactively remove irrelevant surroundings and fragmented information, leaving only one core subject and the very few relationships that genuinely participate in the narrative.

The stylistic logic uses **geometric composition + intelligent mosaic reassembly**. Compress the subject and space into clear geometric planes, rectangular units, fine-line frameworks, and layered grids, reconstructing the image in a modular, architectural, pixelated yet deliberately organized manner. This is not random pixelation, but intelligent generalization based on the subject's structure: large forms retain clear outlines, while small details are translated into ordered color blocks, grid points, slices, stepped edges, and localized joining relationships, so the image has both a mosaic-like sense of rational decomposition and an original theme that remains recognizable at a glance. Local axes, alignment lines, bounding boxes, negative-space divisions, and a small number of decorative geometric details may be added in moderation to create the feel of high-end editorial design and architectural diagrams.

The lower half uses an **extremely pale background and large areas of negative space** as its main spatial field. The background color is not fixed; intelligently match it to an extremely pale composite color close to white according to the original image's overall color temperature and mood. It may be slightly warm, slightly cool, or carry an extremely subtle hue, but it must be light, clean, and quiet. The blank space itself carries air, distance, and breathing room, making the geometric subject stand out more clearly.

The composition emphasizes **visual center of gravity, proportional relationships, negative space, modular rhythm, alignment order, and incomplete symmetry**. The subject may be offset, suspended, placed in an area with a low center of gravity, or converge toward the center through multiple geometric levels. If the most moving aspect of the original image is a relationship—for example, the scale between a person and a building, the juxtaposition of an object and its environment, or the interplay between local structures—preserve that relationship first and strengthen it through geometric segmentation and mosaic structure, rather than evenly filling the image.

The colors retain the logic you currently prefer: extract the overall color temperature and the most vital colors from the original image, then translate them into a **warm, bright artist's palette with a slightly naive quality**. Overall, relaxed warm-cool contrasts are formed between warm color planes such as cream yellow, apricot, pink-orange, coral pink, and old rose, and cool colors such as sky blue, pale cyan-green, mint green, and gray-green; a very small amount of brick red, orange-red, dark green, earth brown, or black may serve as visual anchors. Colors need not completely obey the real objects; local color substitutions, misregistrations, and pops of color may be made according to the image's rhythm, but overall harmony must be maintained. The color planes should be flat, clean, and restrained. Avoid dirty gray, a uniform-filter feel, and highly saturated digital colors.

Do not preset fixed titles, locations, numbers, or languages for the text. Based on the original image's theme, action, environment, emotion, or metaphor, freely generate a very small amount of truly meaningful text. As part of the layout system, the text may be placed in a negative-space area, at the bottom center, in a corner, or between geometric divisions, using slender, restrained, airy typography that echoes the geometric structure; overall, keep it small, light, and quiet, without mechanically applying a template.

The overall character should resemble a combination of **architectural diagrams, art maps, modern collage posters, and high-end editorial design**: quiet, rational, refined, and modern, while retaining the distillation of memory and warmth of color. Avoid fully reproducing the scene, random pixelation, sticker logic, elaborate textures, smooth 3D, a cartoon-template feel, and adding meaningless elements merely for richness.