Papierausgeschnittene Reisestraßenszene

【Paper-Sketch Travelers in Street Scenes】 What makes this set interesting is not that it paints over the entire photo, but that it gently lifts only the people out of reality. The streets, churches, and seasides remain real, while the figures look as if they were cut from a sketchbook and then placed back into the scene. The travel locations stay unchanged, yet the people in memory become even clearer. prompt: Please turn each travel photo I upload into a separate, high-end illustrated poster - no multi-image collages, each photo output individually. Overall use a 3:4 vertical split composition. The upper section takes up about 48% - 50% of the frame, preserving the original photo in full; the lower section takes up about 50% - 52%, rebuilding the same location, the same people, and the same moment. Between the two, use a clear, straight horizontal boundary - no blending, torn paper, multi-layer stitching, or decorative divider strip. The upper section faithfully preserves the original photo's people identity, count, facial features, poses, direction of movement, gestures, clothing, carried items, spacing between figures, front-to-back occlusion, building structure, street perspective, real textures, natural light and shadow, and location atmosphere. Only apply light travel-magazine, art-publication, or exhibition-style color grading, plus an extremely thin layer of film grain. Do not alter people, replace backgrounds, move buildings, add or remove pedestrians, or turn the photo into an illustration. The lower section rebuilds the same space, but allows for a more editorial recomposition based on the relationships between people. Choose a stretch of real photographic environment that sufficiently proves the location, moderately tighten the crop, reduce background contrast, or remove irrelevant edge figures, so that the 1 - 4 most important people in the photo become a clear narrative focus. Keep about 20% - 32% of continuous low-information empty space in the sky, walls, streets, water, or ground, so the frame can breathe and hold text. The buildings, streets, walls, trees, vehicles, sky, water, and light and shadow in the lower section continue to maintain a real photographic texture. Do not turn the entire scene into line art. Only convert the people who actually exist in the photo and carry the main narrative role into solid cutout sketch characters made of "warm white paper + hesitant black line drawing." Strictly maintain the real count, positions, sizes, poses, action directions, distances between figures, hand contact, front-to-back occlusion, and interaction relationships. Each person consists of the following: - An opaque warm-white or natural-white paper fill that completely covers the original photographic content of the person; - Visible but restrained natural paper grain and slight fiber texture; - Clean yet slightly hand-cut edges with minor imperfections; - Loose, hesitant charcoal-black or ink-black outlines with slight variation in thickness; - Very few internal sketch lines for hair, collars, arms, palms, legs, shoes, bags, or cameras; - Very light, correctly directed contact shadows under the feet and layered shadows between paper figures. People must look like real thin-paper characters standing in the scene, with believable foot-to-ground contact, occlusion between figures, perspective scaling, and directional light. Do not just overlay white line art on transparent photographic people, and do not make them look like thick foam stickers, cartoon characters, meme faces, comic figures, or AR interfaces. Very small distant figures may be actively removed from the frame based on the lower-section crop; if still clearly recognizable, they should be handled as simpler white-paper silhouettes at their true count - do not duplicate, add, or unify them into identical poses. Bags, hats, cameras, umbrellas, or bicycles related to a person's actions may be paperized along with the person. By default, add three layers of accurate, readable English captions: 1. A title of 1 - 3 English words distilled from the people's actions or scene relationships in the photo; 2. An observation number like "SCENE NO. 01"; 3. A short line of 5 - 10 English words describing the real walking, waiting, meeting, embracing, or watching happening in the photo. The main title must remain clearly legible at normal chat-preview size and take up about 25% - 38% of the lower section's width. Use loose black-ink uppercase, hand-set type, or sketchbook-style narrow lettering, printed on a warm-white handmade paper tag or arranged along a low-information wall or ground surface. Ink may have slight breaks and paper-teeth edges, but must not shrink into decorative gray lines or look like smooth digitally overlaid typography. Do not invent relationships, locations, dates, brands, quotes, or author information. Text must not cover people's faces, hand interactions, or foot-contact points. Overall, it should feel like real travel photography and paper figure sketching existing at once: the environment still belongs to reality, while the people look cut from memory, a diary, or a sketchbook, then gently placed back into the journey. Avoid: full-poster redraw, illustrated buildings, illustrated street, all-white background replacing the scene, transparent line overlay on photographic people, cartoon people, colored comic characters, kawaii stickers, speech bubbles, AR interface, thick foam stickers, altered person count, invented pedestrians, duplicated figures, changed poses, separated hands, floating figures, missing contact shadows, tiny source-photo comparison, fake text, author name, signature, social handle, logo, watermark. The most important rule: the top must fully preserve the real original photo; the bottom remains a real photographic space, with only the people who actually exist in the photo converted into solid cutout characters of warm white paper and hesitant black ink lines.