Pôster de Viagem com Retrato e Fundo em Linework

Translate each travel photo I upload into a single independent, high-end line-drawing travel poster. Each photo is output separately, with no multi-image collage. Use a 3:4 vertical composition overall, creating a clear top-to-bottom contrast of 'real photo above + line-drawn background figure reinterpretation below'. The upper and lower areas are separated by a clean, horizontal, restrained boundary - no feathering, tearing, gradient blending, and no bleeding of photo, lines, or text across the boundary. The upper section must preserve the uploaded photo as it is. Accurately maintain the identity, number, pose, direction of movement, main clothing colors, building and street relationships, viewing angle, perspective, real materials, natural lighting, and original color atmosphere of the people or subjects. Apply only slight premium photo grading and ultra-thin film grain for a travel magazine and art publication quality feel. To fit the frame, sky, ground, or surroundings may be naturally extended, but subjects may not be stretched, distorted, mirrored, moved, replaced, or redrawn. In the lower section, on a warm off-white, aged paper, or light oatmeal paper background, reorganize the same person and the same scene from the photo above into a 'line-drawing background figure observational sketch'. The figure remains the visual focus, preserving the original number of people, body weight distribution, direction of movement, spacing, hair silhouette, main clothing colors, backpack, and other key distinguishing features. Keep only a few minimal clues behind the figure, such as the street, buildings, sea, or environment that indicate the location and spatial direction. Do not trace the entire background in full, and do not add any people or landmarks that were not present in the original photo. The linework must use unstable black pen, dip pen, or dry ink lines, constantly searching for form: breaks, pauses, retraces, displaced repeated lines, partial redraws, varying thickness, slight erasures, and unfinished line ends must be clearly visible. The lines look like, rather than clean vector outlines, comic ink lines, or fashion sketches. Only minimal solid black shapes or dense hatching are used to anchor the backpack, hair, doorframe, or shadows, but no full shading or large areas of fill. Composition uses size reduction, off-center placement, or vertical reorganization. The linear subject takes up about 38%-68% of the lower section width and may lean to one side, with at least 42% of continuous old-paper negative space around it. Keep only one or two ground lines, perspective lines, wall edges, or structural lines to anchor the space, and do not draw them as an engineering grid. The tension between line and paper white is more important than background completeness. Color scheme is mainly warm aged paper and pure black ink. You may extract at most one small area of muted color from the photo for the figure's clothing, a location marker, a short line, or numbering, covering less than 8% of the lower section area. Do not use multi-color watercolor fills. The paper should have visible fiber, subtle grain, and the matte texture of an old travel sketchbook. In the main blank areas, add a few, accurate, readable editorial text elements: a short English title related to the location or subject; a line saying 'LINE STUDY 01' or a location/object field; and one short observational note. Use small typography, ink-keeper typeface, or handwriting close to the line style, as if written directly on the paper, and do not outweigh the figure. Do not place author names, brand, logo, URLs, fake dates, signature, watermarks, gibberish, or extra slogans. Overall vibe: 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: applying a generic line filter to the whole image, continuous smooth contours, vector tracing, refined fashion sketches, detailed facial features, precise anatomical corrections, complete background tracing, dense architectural detail, full shadow rendering, heavy watercolor, oil painting, 3D, anime, irrelevant people, overly specific poses, author names, logos, URLs, signatures, watermarks, and any text. Critical rule: The upper half is the real photo for direct comparison; the lower half uses only broken, retracing, overlapping line marks searching for form, reinterpreting the same person and scene. The style comes from the tension between line and white space, not from a fixed character set.