Minimal Poster Architecture

Please make each photo I upload into an independent high-end design poster. No splicing of multiple pictures, and each photo will be output separately. The overall composition adopts a 3:4 vertical layout, and the height of the upper and lower areas is strictly 1:1, each accounting for 50% of the screen. The upper part retains the original photo, maintaining the subject's identity, structure, posture, real texture, natural light and shadow, and original color atmosphere. It only undergoes slight advanced photography color grading to give it the texture of art magazines, independent publications, and exhibition photography. The sky, ground, or environmental background can be naturally expanded to fit the frame, but the subject must not be stretched, distorted, or altered. The lower part extracts the most identifiable subject, outline, posture and narrative relationship in the photo, and reconstructs it into a minimalist thick black dry media silhouette illustration. Do not mechanically trace the details of the photo, but compress the subject into a rounded, thick, and slightly naive general shape. You can appropriately enlarge the head, main outline, or the most memorable part, so that the original object can still be recognized at a glance with very little information. If the photo contains multiple subjects, retain the most important interactions and treat them as an overall visual unit rather than equally dispersed focus. The lower half uses only an almost pure white paper base + thick black crayon, charcoal or dry erase marks. No color or grayscale gradient is used. The black form is not a smooth solid vector block, but is formed by repeated application of short, powerful crayons, retaining paper particles, broken pens, indentations, rough edges, uneven shades and partial white exposure. The outlines are slightly shaky, incomplete, and imprecise, allowing the image to maintain an authentic hand-made feel. The most critical identifying features of the subject can be enhanced by "white feature areas suddenly cut out of the black silhouette", such as the face, around the eyes, window openings, openings of utensils, animal faces, the core structure of objects, or the most recognizable parts; and then use very few black spots, short lines or symbols to complete expressions and details. Don't pursue realistic facial features and precise structures, but let black and white form a direct, interesting and strong identifying relationship. The composition maintains a large area of ​​pure white space + one main visual relationship. The subject can be suspended in the center, or slightly offset, partially cropped, or close to the bottom of the picture. Only a rough ground friction line, a few short lines, or very few environmental symbols are used to indicate the space. Blades of grass, rain, smoke, tabletops, shadows, roads, wind or other environmental information should be compressed into minimal crayon marks, leaving the background quiet and empty. The whole does not pursue complex scenes, but allows one gesture, action, distance or relationship to bear the main narrative. The text retains a small amount of advanced editing and a small font system that coexists with a children's book feel. Don't just write the name of the place or object, but extract a short English title from the emotions, actions, relationships, time or small stories in the photo, and then match it with a number, an appropriate golden sentence, a chapter number or a very short implicit copy. The text can be restrained small print, or it can include a minimal amount of awkward handwriting, crayon writing, or imperfect letterforms to make it look like it belongs in the illustration. The text needs to have a clever relationship with the graphics: it can be arranged close to the ground line, extended along the direction of the subject's movement, hidden in a large blank space, slightly blocked by the outline, stuck in a negative shape between the two subjects, or connected with a thin line between the number and the subject. Just keep "a short title + 1–2 sets of minimal auxiliary text" so that the text becomes part of the rhythm of the composition rather than a regular poster title. The overall design presents the visual characteristics of thick black, pure white, simple form and rough texture, maintaining a delicate balance between childishness, gentleness, quietness, humor and loneliness, like an old black and white children's book re-edited by a senior design studio. Avoid smooth digital strokes, precise line drawings, realistic light and shadow, thick paint, 3D effects, colors, large areas of gray rendering, cartoon stickers and templated business illustrations. Art direction controls: deep cobalt, warm cream, and charcoal, a centered hero composition with deliberate negative space, quiet and editorial.