KRAFT NEGATIVE-STENCIL LANDMARK poster style

Please turn each travel photo I upload into an independent high-contrast poster. Do not combine multiple images; output each photo separately. Style name: KRAFT NEGATIVE-STENCIL LANDMARK (牛皮纸负形地标漏印) ## Suitable subjects Suitable for travel landmarks with clear single silhouettes, e.g.: lighthouses, towers, churches, temples, gatehouses, statues, monuments, windmills, lone boats, pavilions, bridge towers, or buildings with distinct silhouettes. The subject should be clearly separated from the sky, water, plaza, or a relatively simple environment. Do not turn all photos into lighthouses, churches, or the same tourist icon. Do not add birds, boats, trees, people, railings, or decorative scenery that does not exist in the original photo. ## Overall layout Use a 3:4 vertical top-bottom comparison composition: - Top ~45%–52%: keep the high-fidelity original photo - Bottom ~48%–55%: do the kraft-paper negative-stencil transfer - Use a straight, clear, restrained horizontal boundary between the two areas - No feathering, no mutual bleeding, no heavy divider lines - No frame, wall, hand-held display, or mockup The final output must retain a substantial, clearly recognizable original-photo comparison area. Do not shrink the original into a small corner icon, and do not make the entire poster a stencil print. ## Top original photo Faithfully preserve from the original photo: - Landmark identity - Subject count - Subject orientation - Building or object proportions - Top, base, and key silhouette - Door/window and main structural positions - Viewing angle - Number and position of people - Sky, ground, water, and spatial relationships - Real texture, light/shadow, and original color atmosphere Only apply a slight high-end travel-magazine, architecture-publication, or photography-exhibition color grade, and add an extremely thin film grain. Do not illustrate the original photo, move the subject, reshape the building, replace the sky, add/remove people, stretch, mirror, or duplicate the landmark. ## Bottom kraft paper The bottom is one continuous expanse of coarse-fiber paper. Choose one dark tone for the paper base based on the original photo's mood: - Natural kraft brown - Deep gray-brown - Cool brown - Deep indigo blue - Ink green - A single dark tone extracted from the original photo's shadows Show real natural paper fibers, tiny paper flecks, slight creases, local color variation, and a matte rough surface. The paper may look slightly aged, but not heavily scorched, tattered, covered in stains, or made into a cheap vintage background. ## Negative-stencil mechanism Recreate the photo's subject as a hand-cut negative template stencil print, coarse screen print, or old template print. First lay down a complete dark coarse-paper base, then use only one light opaque ink to "stencil" the subject out of the paper surface. The light ink may be: - Warm ivory - Gray-white - Light sand - An extremely light corresponding color extracted from the photo's subject The entire transfer is strictly limited to two colors or near two colors: paper base color + light stencil ink. Do not add a third accent color, multicolor overprint, gradients, translucent colors, realistic shadows, or glow effects. ## Semantic distillation Do not copy the photo's full scene. Keep only: - The subject's complete outer silhouette - Subject orientation - Top and base shapes - 2–6 interior openings that determine identity - How the subject connects to the ground, shoreline, rocks, or water - The very few attached structures that truly exist in the original photo and help recognition Remove: - Complex window grids - Brick joints and wall texture - Ornamental carvings - Dense vegetation - Cloud detail - Reflections - Realistic light/shadow - Repeated people - Irrelevant environment - Photographic noise The subject must be recognizable at a glance, but internal information should be compressed to a minimum. Recognition should come mainly from one continuous block of light negative shape, not from fine lines, hatching, or photo brightness. ## Composition Use a full-bleed, impactful secondary composition. The subject occupies the bottom area: - Height ~55%–85% - Width ~28%–68% The subject may be centered or slightly offset based on the original photo's center of gravity. The base or part of the silhouette may slightly bleed off the edge. Do not redraw the bottom in the same scale and full framing as the top photo. The bottom should clearly enlarge the subject, remove the background, and change information density. Keep continuous, quiet coarse-paper empty space around the subject. The environment may keep at most one extremely simple, broken negative shape of ground, shoreline, rock, or water. Do not build a full landscape background. ## Stencil texture The light subject's outer silhouette should be solid and clear, with a slight paper-fiber fuzz edge from real template printing. Inside the ink, allow: - Uneven coverage - Random missing ink - A few pinholes - Local scraping - Rubbing wear - Kraft-paper fibers showing through - Slight ink bleed or breaks at the template edge These marks must appear natural, random, and local. Do not use a uniform grain filter, regular noise, regular grids, or photo-threshold effects. The upper part of the subject, the top silhouette, and the identity-defining structures should be relatively complete. The closer to the subject's base, the more visibly the ink can break, flake, and gradually be swallowed by the fibers, creating a sense of memory fading. The bottom fade must be formed by missing ink, wear, and exposed paper base. Do not use: - Smoke feathering - Soft-focus fading - Regular halftone gradients - Pixel dispersion - Rectangular masks - Digital airbrush effects The print overall stays matte, flat, and nearly without thickness. Do not make it a paper cutout, relief, impasto, resin, or 3D model. ## Text By default, generate no text, keeping the negative subject at maximum graphic impact. If text is truly needed, only allow: - One reliable extremely short place name - One simple number Text must use the same light ink, placed in edge whitespace as a small-area missing-ink stencil. Forbidden: long paragraphs, author names, signatures, account names, brands, logos, URLs, QR codes, watermarks, fake Chinese, or gibberish. ## Overall mood The whole should look like an old landmark template print hand-brushed on coarse kraft paper: restrained, coarse, quiet, isolated, flat, modern, with the real paper and hand-made plate imperfections. It is not an ordinary silhouette, nor a photo with a two-color filter. The most important visual mechanism is: large light negative shape + very few interior structural openings + random missing-ink showing base + bottom gradually breaking and fading. ## Forced avoidance Avoid: ordinary silhouette, vector icon, travel logo, photo threshold filter, automatic tracing, monochrome photo filter, detailed etching, copperplate hatching, dense woodcut lines, halftone gradient, regular noise texture, pixel dissolve, airbrush fade, transparent watercolor, paper relief, paper sculpture, impasto, realistic shadows, plastic 3D, multicolor overprint, complete background coverage, same-crop same-scale redraw, invented landmark, added birds, added trees, added boats, excessive typography, author name, logo, watermark, QR code, gibberish text. Both a clear original photo and the kraft-paper negative-stencil transfer must appear together; otherwise it is not complete.