欧洲建筑转单色蚀刻版画对比海报

Please turn each European architectural travel photo I upload into an independent high-end monochrome architectural etching comparison poster, not a multi-image collage, with each photo output separately.

The overall composition uses a 3:4 vertical layout, forming a clear but natural contrast between the original image and the converted drawing above and below. The two areas usually account for about 50% each, which can be slightly adjusted according to the proportions of the original subject, but the contrast relationship of the original image must not be canceled.

The upper part preserves the original photo with high fidelity. Maintain the architectural identity, main structure, real materials, perspective relationship, natural lighting, environmental scale, and original color atmosphere, only performing slight high-end photographic color grading to give it the texture of architectural magazines, independent publications, and exhibition photography. To adapt to the frame, the sky, ground, or environmental background can be naturally extended, but the main architectural body must not be stretched, distorted, replaced, or changed at will.

The lower part extracts the most recognizable outlines, structures, and spatial relationships of the building from the original photo, reconfiguring them into a monochrome copperplate etching or classical architectural print. Do not directly replace the entire photo with a line drawing, nor mechanically copy the composition of the upper part; the scale, cropping, and position should be reselected according to the architectural features. Arches, spires, domes, colonnades, or gables can be enlarged, or a continuous facade can be compressed into a horizontal rhythm, making the lower part an edited and refined independent plate, while still being able to recognize the original building at a glance.

Use extremely fine etching lines, parallel hatching, cross-hatching, stippling, broken lines, and a small amount of drypoint scratches to shape stone, brick walls, carvings, window panes, metal roofs, and spatial shadows. Foreground structures are clear, and dark areas are established through line density rather than large blocks of pure black; background, air, sky, and screen edges gradually reduce lines and stippling, naturally dissipating into the paper, avoiding hard rectangular borders and complete photo outlines.

The lower part uses warm ivory white, natural cream, or slightly aged paper backgrounds, retaining about 35%—55% continuous paper white. The subject is prioritized in the middle and lower parts, leaving breathable empty space around it. The paper has restrained and realistic fibers, tiny indentations, and plate pressure, but do not make it look like dirty old kraft paper or use excessive retro filters.

Only one ink color and its lightness variations are allowed for each work. The ink color is adaptively selected according to the temperament of the original image from deep indigo, Prussian blue, blue-gray, charcoal ink, or warm dark sepia, but multiple color inks must not be mixed in the same work. Establish volume, distance, and light through variations in the thickness, density, overlap, and ink starvation of lines of the same color.

Refine a 1—3 word English title based on the location, architectural type, morphology, or travel feelings in the photo, and add a plate number in the form of "PLATE NO. 01" and a 5—10 word English observation sentence.

The text uses narrow uppercase serif fonts or old topographical movable type in the same color as the print, clearly readable with slight ink starvation and paper tooth; placed in the continuous white space, forming a sparse and restrained publication layout with the main building. Do not have garbled characters, meaningless long text, or large areas of text that grab the subject.

Overall reference classical copperplate etching, European urban topography, museum architectural plates, old architectural survey books, and contemporary high-end editorial design, presenting a precise, quiet, rational visual temperament with a sense of collectability and real printing touch.

Avoid simple black and white filters, pencil sketches, watercolors, gouache, comic ink lines, CAD blueprints, pure vector line art, screen-tone dots, multi-color printing, hard photo outlines, full-page coverage without white space, hard rectangular illustration frames, 3D rendering, plastic feel, e-commerce feel, and template feel.

请将我上传的每一张欧洲建筑旅行照片分别制作成一张独立的高级单色建筑蚀刻版画对比海报，不多图拼接，每张照片单独输出。

整体采用3:4竖版构图，上下形成清晰但自然的原图与转绘对照。两个区域通常各占约50%，可根据原图主体比例进行少量调整，但不得取消原图对比关系。

上半部分高保真保留原始照片。保持建筑身份、主体结构、真实材质、透视关系、自然光影、环境尺度和原有色彩氛围，仅进行轻微的高级摄影调色，使其具有建筑杂志、独立出版物和展览摄影质感。为适配画幅，可以自然扩展天空、地面或环境背景，但不得拉伸、扭曲、替换或随意改变建筑主体。

下半部分从原图中提取建筑最具识别性的轮廓、结构和空间关系，重新构成为单色铜版蚀刻或古典建筑版画。不要把整张照片直接换成线稿，也不要机械复制上半部分构图；应根据建筑特征重新选择尺度、裁切与位置。可以放大拱券、尖塔、穹顶、柱廊或山墙，也可以将连续立面压缩成横向节奏，使下方成为经过编辑和提炼的独立图版，同时仍能一眼认出原建筑。

使用极细蚀刻线、平行排线、交叉排线、点描、断续线和少量干刻划痕，塑造石材、砖墙、雕刻、窗格、金属屋面和空间阴影。近景结构清楚，暗部通过线条密度而不是大块纯黑建立；远景、空气、天空与画面边缘逐渐减少线条和点描，自然消散进纸张，避免硬矩形边框和完整照片轮廓。

下半部分使用温暖象牙白、自然米白或轻微旧化的纸张背景，保留约35%—55%的连续纸白。主体优先集中于中下部，四周留出可以呼吸的空场。纸张具有克制真实的纤维、细小压痕和印版压力，但不要做成脏旧牛皮纸或过度复古滤镜。

每张作品只允许使用一种墨色及其明度变化。墨色根据原图气质自适应选择深靛蓝、普鲁士蓝、蓝灰、炭墨或暖深褐，但同一张作品中不得混用多种彩色油墨。通过同色线条的粗细、疏密、交叠和缺墨变化建立体积、距离与光线。

根据照片中的地点、建筑类型、形态或旅行感受，提炼一个1—3个英文单词的标题，并加入“PLATE NO. 01”形式的图版编号和一句5—10个英文单词的观察短句。

文字使用与版画同色的窄体大写衬线字或旧地志铅字，清晰可读，带轻微缺墨与纸齿；放置在连续留白中，与建筑主体形成疏朗、克制的出版物版式。不要出现乱码、无意义长文或抢夺主体的大面积文字。

整体参考古典铜版蚀刻、欧洲城市地志、博物馆建筑图版、旧建筑测绘册和当代高级编辑设计，呈现精确、安静、理性、具有收藏感和真实印刷触感的视觉气质。

避免简单黑白滤镜、铅笔素描、水彩、水粉、漫画墨线、CAD蓝图、纯矢量线稿、丝网网点、多色印刷、照片硬描边、满版无留白、硬矩形插画框、3D渲染、塑料感、电商感和模板感。