찢어진 종이 거리 재건 포스터 프롬프트

Create one standalone premium torn-paper art edit poster from each travel street photo I upload - no multi-image collages, each photo output separately. Overall use a 3:4 vertical double-panel composition: the top keeps a clearly visible real original photo, and the bottom reconstructs the same street as a "torn-paper street reconstruction"; the upper and lower areas are close to 1:1 in height, with a clean, horizontal boundary - no blurring, no bleed-through. Output only the poster front - no frames, walls, or handheld mockups. The upper half occupies about 47% - 50% of the frame and faithfully preserves the original photo. Accurately maintain the street's viewing angle, vanishing direction, road slope, buildings on both sides, eaves, doors, windows, signs, vehicles, plants, wires, and the number and poses of people, as well as the original natural lighting and color atmosphere. Apply only light travel-magazine color grading and an extremely thin film-grain finish - it must still clearly read as real photography. To fit the frame, you may naturally extend sky, pavement, or quiet surroundings, but do not redraw buildings, move people, alter vehicles, stretch, mirror, or duplicate subjects. For the lower half, do not apply a paper filter to the same framing of the original image, and do not use rectangular photo-fragment collage. First select from the photo one main street vanishing line, the primary facades on both sides, and one to three objects that best identify the location - such as pedestrians, vehicles, lanterns, umbrellas, wires, plants, signs, or rooftops. Actively remove repeated window panes, dense crowds, irrelevant small details, and photographic noise, then reorganize these elements into a smaller, clearly outlined physical torn-paper scene. The redrawn scene occupies about 60% - 82% of the lower area, can be centered or slightly off-center, with about 20% - 35% of continuous ivory paper surface left around it. Resize and re-hierarchize the subjects based on the original photo, letting the most recognizable building, object, or person become the paper anchor - do not copy the photo's full composition. You may add a small torn-paper circular window in the negative space, enlarging one real detail from the original photo, and connect it to the main scene with a graphite arrow. Use hand-torn matte fiber paper, thin rice paper, corrugated cardboard, kraft paper, and a small amount of old printed paper to build facades, pavement, eaves, plants, sky, and figures piece by piece. All main shapes must have clearly visible exposed-fiber torn edges, slight overlaps, paper thickness, lifted corners, and short, natural solid shadows. Torn edges may be irregular, but the street's outer silhouette, road direction, building boundaries, and subject identity must remain clear. Avoid smooth vector slices, laser-cut edges, and flat digital shadows. Color is drawn entirely from the photo above: reduce complex colors to five to seven gray-toned paper colors, using the real dominant hues of walls, pavement, roofs, plants, and figures as the skeleton, and keep only one rust-red, cobalt blue, olive green, or other characteristic color from the original as an accent. Do not apply a fixed Japanese travel palette to every location. Add a set of pencil captions in the continuous bare-paper area. Distill a 1 - 3 word English title from the location, road structure, light, weather, or action confirmed in the photo; add the field "PAPER STUDY 01", numbered sequentially across multiple photos; then add one observation line of 5 - 12 English words. The title must be clearly readable in normal chat preview; the field and observation line are smaller but must not shrink into a gray hairline. The text looks like fine graphite or charcoal written directly on the paper, may include one arrow, and uses no sleek digital fonts. If the location cannot be confirmed, use the scene theme - do not invent place names, dates, or coordinates. The overall result should feel like a single paper-based piece between architectural observation, material study, and travel publication: the street is recognizable at a glance, the paper layers feel real, the boundaries are clear, the information is edited down, and there is enough negative space to breathe. Avoid journaling nine-grid layouts, rectangular photo collages, isomorphic paper filters over the same image, full-bleed background coverage, children's cut-and-paste art, generic travel icons, fictional landmarks, author names, account handles, logos, QR codes, watermarks, fake Chinese text, and garbled characters.