Affiche de voyage avec portrait en arrière-plan Linework

Please take each travel photo I upload and turn it into a single independent high-end linework travel poster, outputting each photo separately without any multi-image collage. Use a 3:4 vertical composition overall, forming a clear upper-lower contrast of "real photo on top + linework background figure redrawing below". The upper and lower regions should be separated by a distinct, horizontal, restrained boundary; do not feather, tear, gradually blend, or allow photos, lines, or text to cross the boundary. The upper half must keep the uploaded photo as-is. Accurately maintain the identity, number, pose, direction of movement, main clothing colors, relationship between buildings and streets, viewing angle, perspective, real materials, natural lighting, and original color atmosphere of the main subject. Only apply light, refined 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, the sky, ground, or surrounding environment may be naturally extended, but the subject must not be stretched, distorted, mirrored, moved, replaced, or redrawn. On the lower half, on a warm off-white, aged paper white, or light oat-colored paper, reorganize the same person and same scene from the upper photo into a "line drawing study of the background figure observed". The figure remains the visual focus, preserving the original number of people, center of gravity, direction of movement, distance between them, hairstyle outline, main clothing colors, and backpacks or other key identifying features. Behind the figure, keep only sparse clues of streets, buildings, sea, or environment that indicate the location and spatial direction. Do not complete the entire background, and do not add people or landmarks not present in the original photo. The linework must use unstable black pen, dip pen, or fairly dry ink with repeated searching strokes: breaks, pauses, corrections, misplaced lines, double strokes, partial redraws, variations in thickness, slight erisions, and unfinished line ends must be clearly visible. The lines should look like the artist is repeatedly correcting on site - not clean vector outlines, not comic ink, and not fashion sketches. Use very little solid inking or dense hatching as needed for backpacks, hair, door frames, or shadows, but do not build up a full tonal sketch or large flat fill areas. Composition uses a shrunk and concentrated arrangement, offset placement, or a vertical rearrangement. The linear figure occupies about 38% - 68% of the width of the lower area and can be placed to one side; leave at least 42% of continuous blank paper around it. Only keep one or two ground lines, perspective lines, wall edges, or structural lines to suggest spatial setting; do not turn it into grid drafting lines. The tension between the linework and the paper white is more important than a complete background. Color is mostly warm old paper and single black ink only. At most, take one very small area of a single soft color from the photo - for clothing, a location mark, short line, or number label. The colored area is less than 8% of the lower region; do not use multi-color watercolor fills. The paper should have visible fibers, subtle particles, and the matte feel of an old travel sketchbook. Add a small amount of accurate, readable editorial text in the main blank space: a short, relevant English title related to the location or subject; one line of "LINE STUDY 01" or a location/object field; and a very short observation note. Use small typewriter font, a worn type, or a handwritten style close to the linework, as if written on the paper. Text must not overpower the figure. Do not include the author's name, brand, logo, URL, fake dates, signature, watermark, or jargon, or extra slogans. Overall mood: 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: turning the whole image into a simple line art filter, continuous clean contours, vector tracing, polished fashion sketches, detailed facial features, anatomical correction, a full background tracing, dense architectural details, fully shaded sketch, heavy watercolor, oil painting, 3D, anime, unrelated people, restricted intimate poses, creator names, logos, URLs, signatures, watermarks, or unrecognizable text. The most important rule: the upper half is a directly comparable real photo; the lower half uses only broken, refolded, overlapping black lines that keep searching for form to re-surface the same relationship between action and location. The style comes from the tension of linework and blank space, not from any fixed composition of figures.