Prompt de escena callejera de viaje en recorte de papel

【Paper-Sketch Travelers in Street Scenes】 What makes this set interesting is not drawing over the entire photo, but gently lifting only the people out of reality. The streets, churches, and seaside remain real, while the figures look as if they were cut from a sketchbook and then placed back into the scene. The travel location has not changed, 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. Use a 3:4 vertical split composition overall. The upper section takes up about 48% to 50% of the frame and keeps the original photo fully intact; the lower section takes up about 50% to 52% and rebuilds the same location, same people, and 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 people, front-to-back occlusion, building structure, road perspective, real materials, natural light and shadow, and location atmosphere. Only apply light travel-magazine, art-publication, or exhibition-photography 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 a more editorial re-framing based on the relationships between people. Choose a real photographic environment segment that sufficiently proves the location, moderately tighten the crop, reduce background contrast, or remove irrelevant edge figures, so that the 1 to 4 most important people in the photo become a clear narrative center. Keep about 20% to 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 have a real photographic texture. Do not turn the entire scene into a line drawing. Only convert the people who actually exist in the photo and carry the main narrative role into solid cut-paper sketch characters made of "warm white paper plus hesitant black line work." Strictly maintain the real count, position, size, pose, direction of action, distance between people, 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 that person; - Visible but restrained natural paper grain and slight fiber texture; - Clean but slightly hand-cut paper edges with minor imperfections; - Loose, hesitant, variable-thickness charcoal-black or ink-black outlines; - Very few internal sketch lines for hair, collars, arms, palms, legs, shoes, bags, or cameras; - Very light, correctly oriented contact shadows under the feet and layered paper shadows between 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 on-site light direction. Do not just overlay white line art on transparent photographic people, and do not make thick foam stickers, cartoon characters, emoji-style figures, comic characters, 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 in their true count - do not copy, add, or unify them into identical poses. Bags, hats, cameras, umbrellas, or bicycles related to a person's action may be paper-cut along with that person. By default, add three layers of accurate, readable English captions: 1. A 1 to 3-word English title distilled from the people's actions or scene relationships in the photo; 2. An observation number like "SCENE NO. 01"; 3. A 5 to 10-word English short sentence describing what is really happening in the photo - walking, waiting, meeting, embracing, or watching. The main title must remain clearly legible at normal chat-preview size and take up about 25% to 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 label or arranged along a low-information wall or ground surface. Ink may have slight breaks and paper-tear edges, but must not shrink into decorative gray lines or look like smooth digital typography overlaid later. Do not invent people relationships, locations, dates, brands, quotes, or author information. Text must not cover people's faces, hand interactions, or foot-contact points. The overall feel should be the strange coexistence of real travel photography and paper figure sketching: 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 upper section must fully preserve the real original photo; the lower section remains a real photographic space, with only the people who truly exist in the photo converted into solid cut-paper characters made of warm-white paper and hesitant black ink lines.