Linienkunst-Hintergrundporträt-Reiseposter

Please create each travel photo I upload as an independent, high-end line-drawing travel poster. Output each photo separately - no multi-image collages. Use a 3:4 vertical composition throughout, creating a clear "real photo on top + line-drawn background figure reinterpretation on bottom" contrast. The upper and lower areas should be separated by a clear, horizontal, restrained boundary - no feathering, tearing, gradient blending, and no photo, line, or text crossing the boundary. The upper half must preserve the uploaded photo itself. Accurately maintain the identity, number, pose, direction of movement, main clothing colors, building-street relationship, viewing angle, perspective, real materials, natural lighting, and original color atmosphere of the person or subject. Apply only light, high-end photographic color grading and an extremely thin film grain to give it the quality of a travel magazine or art publication. To fit the frame, you may naturally extend the sky, ground, or surrounding environment, but you must not stretch, distort, mirror, move, replace, or redraw the subject. In the lower half, on warm off-white, aged paper white, or light oat-colored paper, reorganize the same person and the same scene from the photo above into a "line-drawn background figure observation study." The person remains the visual center, preserving the original number of people, center of gravity, direction of movement, distance between figures, hairstyle silhouette, main clothing colors, and key identifying features such as backpacks. The streets, buildings, sea, or environment behind the person should retain only a few minimal cues that indicate the location and spatial orientation. Do not trace the entire background in detail, and do not add people or landmarks that do not exist in the original photo. The line work must use unstable black pen, dip pen, or dry ink lines that repeatedly search for form: breaks, pauses, retraces, offset double lines, partial redrawing, variations in thickness, slight erasures, and unfinished line ends must all be clearly visible. The lines should look like the artist continuously correcting on site - not clean vector outlines, comic ink lines, or fashion sketches. Where necessary, use a very small amount of solid black blocks or dense hatching to anchor backpacks, hair, door frames, or shadows, but do not build a full tonal drawing or large areas of fill. The composition should use reduction, offset placement, or vertical reorganization. The linear subject should occupy approximately 38% - 68% of the lower area's width and may be offset to one side. Leave at least 42% of continuous old-paper white space around it. Keep only one or two ground lines, perspective lines, wall edges, or structural lines to support the space - do not draw engineering grid patterns. The tension between line work and white space matters more than background completeness. Color should be dominated by warm aged paper and single black ink. At most, extract one extremely small area of muted color from the photo for the person's clothing, a location marker, a short line, or a number. The colored area must stay below 8% of the lower area - no multi-color watercolor fills. The paper should have visible fibers, fine grain, and the matte texture of an old travel sketchbook. Add a small amount of precise, readable editorial text in the main white space: one short English title related to the location or subject; one line reading "LINE STUDY 01" or a location/subject field; and one very short observation note. Use small typewriter-style lettering, ink-starved lead type, or handwriting close to the line work, as if written directly on the paper. The text must not overpower the figure. Do not include author names, brands, logos, URLs, fake dates, signatures, watermarks, garbled text, or extra slogans. Overall character: fragmented black linework, repeated searching contours, sparse travel observation, warm archival paper, controlled negative space, one restrained accent color, handmade editorial study, quiet and intelligent travel memory. Avoid: applying a generic line-art filter to the whole image, continuous smooth contours, vector outlines, refined fashion sketches, detailed facial features, anatomical corrections, full background tracing, dense architectural detail, complete shadow rendering, heavy watercolor, oil painting, 3D, anime, unrelated figures, restrictive intimate poses, author names, logos, URLs, signatures, watermarks, and garbled text. The most important rule: the upper half is a directly comparable real photo; the lower half uses only broken, retraced, overlapping black line work that continuously searches for form to re-refine the same figure and scene relationship. The style comes from the tension between line work and white space - not from any fixed figure relationship.