종이 컷아웃 여행 거리 장면 프롬프트

【Paper-Sketch Travelers in Street Scenes】 What makes this set interesting is not that it paints over the entire photograph, but that it gently lifts only the people out of reality. The streets, the cathedral, and the seaside remain real, yet the figures look as if they were cut from a sketchbook and then placed back into the scene. The travel locations have not changed, but the people in memory become even clearer. prompt: Please turn each travel photo I upload into an independent premium illustrated poster, no multi-image stitching, each photo output separately. Overall use a 3:4 vertical split composition. The upper section takes up about 48% to 50% of the frame and fully preserves the original photo; the lower section takes up about 50% to 52% and rebuilds the same location, the same people, and the same moment. Between the upper and lower sections, use a clean, straight horizontal boundary, with 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, posture, 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, and add 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 secondary composition based on the relationships between people. Choose a section of real photographic environment sufficient to prove 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 accommodate 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 plus hesitant black line drawing." Strictly maintain the real number, position, size, posture, direction of movement, 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 the person; - Visible but restrained natural paper grain and slight fiber texture; - Clean yet slightly hand-cut die-cut paper edges; - Loose, hesitant, charcoal black or ink black outlines with slight variation in thickness; - A very small amount of internal sketch lines for hair, collars, arms, palms, legs, shoes, bags, or cameras; - Very light, correctly directed 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 simply 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 number, and must not be copied, added, or unified 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 to 3 English words distilled from the people's actions or scene relationships in the photo; 2. An observation number similar to "SCENE NO. 01"; 3. A short sentence of 5 to 10 English words describing the real walking, waiting, meeting, embracing, or watching that actually happens in the photo. 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 letterforms, which may be printed on a warm white handmade paper tag or arranged along a low-information wall or ground surface. Ink may show slight breaks and paper-edge roughness, 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 effect should carry the strange sensation of real travel photography and paper figure sketching coexisting: the environment still belongs to reality, and the people look as if they were 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 actually exist in the photo converted into solid cutout characters made of warm white paper and hesitant black ink lines.