Creador de Pósters de Ensamblaje de Materiales Naíf

Create one independent high-contrast poster from each travel photo I upload. No multi-image stitching - one photo corresponds to one standalone piece. Style name: NAIVE MATERIAL ASSEMBLAGE POSTER｜当代拙朴材料拼构海报 ## Overall Structure Use a 3:4 vertical composition. The image is composed of the original photograph and a material assemblage, arranged top and bottom: - Upper approximately 46% - 50%: high-fidelity original photograph - Lower approximately 50% - 54%: contemporary naive material assemblage of the same scene - The relationship between the two zones is clear, but do not add heavy, abrupt dividing lines - Do not generate frames, walls, handheld displays, or poster mockups The original photograph must retain substantial area and remain clearly recognizable as a comparison - do not convert the entire poster into an illustration. ## Upper Original Photograph Faithfully preserve from the original photograph: - Subject identity and quantity - Poses, actions, and directions of people or animals - Key structures of buildings, vehicles, boats, or terrain - Viewing angle and spatial relationships - Real materials - Natural light and shadow - Original color atmosphere Apply only subtle high-end travel magazine, independent publication, or photography exhibition color grading, plus an extremely thin layer of film grain. To fit the layout, natural cropping or extension of sky, ground, water, and surrounding environment is allowed, but do not stretch, distort, mirror, move subjects, reshape buildings, replace skies, or add or remove people. The upper section must always read as a real photograph, not an illustration or AI-reconstructed scene. ## Lower Material Assemblage The lower section uses warm off-white natural handmade paper as the background. The paper has clear but restrained cotton fiber texture, subtle bumps, slight stains, and a natural matte quality. Leave large continuous areas of bare paper so the material scene appears temporarily placed on the sheet. Do not replicate the photo in full, do not shrink the entire original scene into the lower section, and do not simply add paper, fabric, or grain filters to the photograph. First understand what is truly recognizable in the photo, then actively remove: - Repeated buildings - Dense vegetation - Unrelated pedestrians - Complex signage - Tiny windows - Photographic noise - Background details that do not affect scene recognition Keep only one core subject, plus one to three sets of necessary environmental cues. The material assemblage typically occupies approximately 42% - 60% of the lower zone. It can be centered, placed in the lower-middle area, or slightly offset following the original subject's center of gravity. Ample breathing space must remain on all sides. ## Material Semantics This is not about using one material to simulate the entire photograph. Based on the different elements in the photo, assign physically meaningful real materials to each part. Use approximately 4 - 7 materials per piece. Reference correspondences: - Mountains, rock faces, solid architecture: coarse pulp, bark, cork, plaster paper, old wood chips, clay shards, graphite rubbing - Snow, clouds, fog, distant views: cotton pulp paper, translucent tissue, gauze, chalk dust, wax paper - Rivers, sea surfaces, reflections: tracing paper, wrinkled wax paper, sheer fabric, matte metal foil - Land, roads, stone streets, dunes: sandpaper, clay shards, burlap, ochre pulp, sand grains, graphite smudges - Trees and plants: twine, dry grass fiber, rough fabric edges, dyed wool - People: coarse wool, old cloth strips, charred fiber, or irregular fabric pieces - Railings, cables, horizon lines, paths: thin wire, black thread, stitching, narrow paper strips, or graphite drag marks - Boats and vehicles: old wood chips, plaster paper, clay shards, oxidized metal foil, twine, and small amounts of fabric People retain the quantity, poses, action directions, and relationships from the original photo, but facial features and clothing details are not depicted. Materials must appear as real objects placed, adhered, and photographed - not digitally painted texture maps. Clearly show: - Ragged paper edges - Bark cracks - Cork pores - Wood wear - Charcoal and graphite smudges - Plaster granules - Curled edges - Oxidation marks - Loose thread ends - Slight adhesive traces - Misaligned overlaps - Small gaps between materials - Real, soft contact shadows Slight incongruity, temporariness, asymmetry, and awkwardness among materials are acceptable, but the overall composition must remain restrained, sharp, and carry the temperament of a contemporary art publication. It should feel like an artist reorganizing a memory using materials collected on a journey - not a refined model maker's miniature scene. ## Secondary Composition Choose the most suitable approach for each photo - do not use the exact same lower layout for every image. ### Reduced Refinement Best for boats, vehicles, single buildings, mountains, small groups of people, or landscapes with clear silhouettes. The subject occupies approximately 40% - 65% of the redrawn zone width, with generous paper white on all sides, leaving only the most essential environmental relationships. ### Local Magnification Best for building facades with strong silhouettes, mountains, rock faces, road directions, or subjects with strong action. The subject may be partially cropped or extend beyond the natural edge of the material composition, but it must not fill the entire lower zone. ### Structural Objectification Best for building clusters, streets, boats, and scenes with hierarchical relationships. Reorganize the same scene into a loose material construction rather than following the photo's full perspective and identical proportions. The lower redraw must differ from the upper photo in at least two of the following: subject scale, cropping, background retention, material relationships, and spatial organization. ## Color Palette Colors are entirely extracted and compressed from the original photograph. Materials should retain natural, matte, low-saturation inherent tones. Use shades of the same hue and adjacent colors to separate layers, keeping only one most recognizable key color as the visual focal point. For example: - Red boat hull - Yellow facade - Blue doors or windows - Warm-lit rock face - One piece of clothing - One green roof Do not introduce fixed colors unrelated to the original photo, and do not unify all photos into the same orange-blue scheme. ## Typography System The lower section includes slightly richer editorial observation text than an ordinary minimalist poster, but the text still submits to the material work and must not become the primary visual focus. Text is suggested in 4 - 5 levels: 1. A main title of 1 - 3 English words 2. Place or subject theme + study number 3. One sentence observing the real space, weather, or action in the photo 4. A second, more specific sentence describing the image 5. A material index line Reference structure: "SCENE TITLE" "PLACE OR SUBJECT · STUDY NO. 01" "A short observation about the visible atmosphere." "A second sentence about the subject or movement." "BARK / WIRE / PLASTER" Observation text must come only from what is truly visible in the photo - do not invent locations, history, dates, quotations, coordinates, or character stories. Typography: - Small old typewriter serif - Graphite rubbing letters - Low-ink lead type - Slight embossing - Small misalignments from manual typesetting Text may run along material edges, bare paper zones, or the visual axis. It may break into two or three lines - do not compress all information into one thin horizontal strip. Text area should occupy approximately 5% - 8% of the lower zone, remaining clearly legible, but must not cover people, architectural identity structures, vehicles, hulls, or primary terrain. Do not generate artist names, signatures, social media handles, brand logos, URLs, QR codes, invented coordinates, fake addresses, meaningless years, gibberish, or decorative filler text. ## Overall Temperament The overall piece should carry: Contemporary, naive, restrained, quiet, natural, slightly awkward, materially honest, observant, and with a private travel archive quality. Like an artist using bark, old wood, wire, wool, plaster, wax paper, and fragments picked up along the journey to reassemble a photograph into a standalone publication page. Not a neat handicraft, not a realistic model, but a contemporary material work shaped by judgment, deletion, and reorganization. ## Mandatory Avoidances Avoid: single-material felt art, all-fabric collage, all-paper collage, embroidery picture, tufted rug, paper-cut illustration, scrapbook stickers, decorative craft supplies, children's school project, polished miniature diorama, architectural scale model, glossy resin, plastic 3D, smooth digital illustration, clean vector geometry, complete background coverage, copied photographic composition, same-crop same-scale redraw, duplicated figures, changed poses, excessive typography, floating digital text, fake logo, watermark, QR code, invented coordinates, gibberish text. The most important rule: Different materials must carry different semantic roles for different elements and spaces. Materials may be rough, misaligned, and incongruous, but the subject, place identity, human relationships, and story in the photo must remain instantly recognizable.