Prompt de desenho de linha de viagem em pastel de óleo ingênuo

TITLE: "[English title]" OBSERVATION: "[Short sentence based on the real content of the photo]" Please create each travel photo I upload as an independent "NAIVE OIL-PASTEL TRAVEL LINE | 稚拙油画棒旅行线描". Output each photo separately, no multi-image stitching. Use a 3:4 vertical or horizontal composition overall. The upper area occupies about 48%–50% of the frame, retaining a clear original photo with substantial visible surface area; the lower area occupies about 50%–52%, distilling the same scene into a minimalist, naive yet maturely curated oil-pastel travel line drawing. The upper and lower areas are separated by a clean, straight horizontal boundary - no gradient, no feathering, no blending between them. The upper half must faithfully preserve the original photo. Ensure subject identity, subject count, orientation, pose, action, key architectural structures, vehicle proportions, boat direction, ridge forms, spatial relationships between figures and environment, natural materials, real lighting, and original color atmosphere are all maintained. Only apply a slight travel-souvenir, independent-publication, or photo-exhibition tone, plus an extremely thin layer of film grain. Do not redraw the photo, do not stretch, mirror, move, replace, or add subjects, do not change vehicle direction, figure pose, architectural silhouette, mountain form, or boat count. The upper half must still clearly read as a real photograph. For the lower half, do not re-render the full composition of the photo. First understand the photo, then select the single most memorable subject, for example: - A single boat - A lighthouse or tower - A pavilion, hut, or standalone building - A roadside vehicle - An isolated mountain mass - One to two figures - An animal or a travel object with a clear silhouette Keep only the minimum visual elements that make the subject instantly recognizable: - Subject count - Overall outer silhouette - Orientation or direction of travel - Pose - The most important proportional relationships - One to three key structural points - One line suggesting the environment For boats: keep the bow, hull, sail-form lines, oars, or mast; for vehicles: keep wheel spacing, body direction, seat and front-end structure; for buildings: keep roof slope, main entrance, and support relationships; for mountains: keep the distinctive ridge and one important horizon line; for figures: keep count, pose, orientation, hairstyle, or dominant clothing color - do not depict facial features, fabric folds, or fine anatomical detail. Delete dense vegetation, repeated grids, tourist clutter, advertising signs, complex water ripples, cloud detail, rock texture, and photographic light-and-shadow contrast. The background may retain at most one to three broken path lines, shoreline, waterline, horizon, ridge, or ground cue. Do not form a complete background, and do not shrink the original scene down and cram it all into the frame. The lower half uses warm off-white or pale ivory base paper, with natural tooth, fine grain, and visible paper resistance. The subject typically occupies only 22%–42% of the outline area's width, and 20%–38% of its height, placed in the lower-middle, slightly left or right, following the original photo subject's direction. Keep at least 65%–80% of the lower area as completely untouched continuous paper white. Line work must be the largest color mass in the lower half. Use childlike but maturely curated oil pastel, thick crayon, or waxy chalk lines to redraw the subject. Lines must show: - Clearly thick stroke weight - Uneven pressure - Waxy grain - Paper-tooth resistance - Natural breaks - Localized white skip - Occasional buildup - Hesitation and retracing - Slight double lines - Local misalignment - Unclosed contours - Do not lift the pen cleanly on structural subjects Do not use a uniform black outline. Extract 3–6 colors from the original photo, using separate colored lines to distinguish structure. For example: - A subject-marking color handles the main outer contour - Blue-gray or charcoal gray handles contour, shadow, or ridge - Earth yellow, ochre, or gray-brown handles architecture and ground - Gray-green or olive green handles sparse plant cues - Pale blue or gray-blue handles one or two water or sky direction lines Do not fill everything in. Only add a few loose, breathable short hatch marks, rough smears, or waxy color patches on the most critical parts of the subject. Allow slightly darker color where the crayon is reworked, but do not model realistic volume. Do not draw complete shadows, do not use gradient blending, do not chase correct rounded perspective. It should feel like an inexperienced illustrator deliberately keeping a slightly clumsy hand. The lower half may include a small amount of handwritten text by default. The small text includes: 1. A 1–3 word English title; 2. A 5–10 word extremely short observation sentence. Before generating, explicitly replace: TITLE: "[English title]" OBSERVATION: "[Short sentence written from the photo's real content]" The observation sentence should not introduce scenic-spot facts, nor write empty travel-guide prose. It should describe something actually visible in the photo - action, color, part, or feeling - for example: - "yellow waits where the alley cools" - "the boat rests below the pale cliff" - "one figure stands beneath the peaks" - "a small door beneath stacked stone" Place the text in continuous paper white away from the subject, totaling no more than 3%–5% of the lower area. Use: - Slightly crooked pencil handwriting - Fine oil-pastel lettering - Slightly broken mechanical handwritten sans-serif - Letterforms with paper tooth, white skip, and waxy grain Text color is drawn from the subject contour color, blue-gray, gray-brown, or ochre. Do not use smooth, neat, floating digital fonts. Do not add author name, signature, brand, logo, QR code, URL, fictional place names, fictional dates, fake Chinese, or gibberish. Overall it should feel: Simple, quiet, relaxed, slightly clumsy, like a small sketch flipped open in a travel notebook. It may be naive, but not sloppy; simple, but not messy; uncertain, but the subject's identity, direction, and pose must be certain. Avoid: children's classroom drawing, kindergarten cartoon, cute sticker aesthetics, flower-vase template, colored-pencil detailed rendering, adult coloring book, uniform black outline, automatic edge tracing, clean vector icon, smooth pen line, full oil-pastel filling, heavy oil painting, realistic crayon portrait, complete background, individual leaves, repeated water waves, photographic lighting, gradient shadows, full-page illustration, decorative typography, fake text, author signature, logo, watermark, blurry split boundary. The most important rule: First strip the photo down to only the few most recognizable lines of the subject, then let the crayon grain, breaks, hesitant contours, small handwritten notes, and large untouched paper surface together form the memory.