四层递进多维场景设计海报

Please create a high-end design poster of the same scene from the uploaded photo in the current layer, not a multi-photo collage, output each photo individually. 'Not a multi-photo collage' here means: do not mix different uploaded photos into the same finished product; each uploaded photo must independently generate a complete four-layer style poster.

【Overall Aspect Ratio and Four-Layer Structure】
The overall layout uses a 3:4 vertical composition. The image is strictly divided into four equal horizontal areas from top to bottom, and the height of each area must precisely account for 25% of the overall image height. The ratio of the four layers is strictly 1:1:1:1, and no ratio deviation is allowed. The four layers are seamlessly connected, with no dividing lines, no white gaps, and no borders.

Since each layer is actually an extremely flat banner of approximately 3:1, the subject needs to be horizontally adapted within each layer: maintain the stability of the subject's main position and visual focus, prioritize horizontal expansion, and avoid the subject being vertically stretched, squashed, pushed to the edge, or having key parts cropped. The sky, walls, ground, water surface, paper, or environmental whitespace consistent with the original image can be extended to the left and right, but blurred background duplication must not be used for filling.

【Consistency Across Four Layers】
The four layers must come from the same uploaded photo and the same moment. Strictly maintain the consistency of the subject's identity, number of subjects, the facial features of people or animals, posture, movement direction, gaze, core features of hairstyle and clothing, architectural structure, landmark identity, main object relationships, observation angle, perspective direction, left-right positioning, front-back hierarchy, and narrative relationship. 
The style layers are allowed to delete secondary backgrounds, reduce textures, and change materials and detail density according to their respective media, but the subject cannot be replaced with another person, another building, another car, another animal, or another scene.

【Layer 1 | Original Photography】
The first layer faithfully preserves the real photographic texture of the uploaded photo. Retain the subject's identity, quantity, compositional relationship, posture, movement, real materials, natural lighting and shadows, comprehensive color temperature, and scene atmosphere. Only restrained high-end photography-grade color grading, exposure and contrast fine-tuning, and extremely slight delicate grain optimization are allowed. 
To adapt to the current approximately 3:1 banner, natural cropping or extending the environmental edges consistent with the original scene can be performed, but the subject must not be stretched, distorted, mirrored, copied, key objects moved, architectural structure changed, or characters redesigned. 
The first layer does not add extra text, brand logos, borders, watermarks, or decorative elements.

【Layer 2 | 1970s Animation Style Black and White Ink Drawing | Current Layer Adaptation Rules】
This layer only accounts for 25% of the height of the entire 3:4 four-split poster, which is actually an extremely flat horizontal area of approximately 3:1. The following style instructions are all executed "within the current layer". 
Any expressions appearing in the source prompt such as independent poster, entire image, vertical ratio, separate output, etc., must not change the overall four-split structure; the current layer's approximately 3:1 flat horizontal ratio is the highest priority. 
Do not generate an original image comparison area, a second photo, top-bottom split screens, or extra multi-grids within the current layer. If there are recomposition requirements in the source prompt, only refinement of background information, materials, whitespace, and secondary elements is allowed; the subject's identity, quantity, key posture, movement direction, observation perspective, main perspective, left-right position, and core spatial relationship must not be changed. 
If text is an important component of the source style, it is retained, but it must be reduced to the minimum necessary number that can be clearly read in the current layer; if the source prompt explicitly requires no text, maintain no text.

【Source Style Complete Translation Description】
Create a black and white ink drawing of the [subject]. Emphasize expressive features, using 1970s 2D animation aesthetics, rough high-contrast outlines, sharp and clear line art, minimalist yet hierarchical line widths, and animation clean-up style. The image uses a high-key composition and a pure white background, using only black and white colors, without adding shadows, colors, or grayscale.

【Layer 3 | Coarse Grain Limited Color Travel Relief Print | Current Layer Adaptation Rules】
This layer only accounts for 25% of the height of the entire 3:4 four-split poster, which is actually an extremely flat horizontal area of approximately 3:1. The following style instructions are all executed "within the current layer". 
Any expressions appearing in the source prompt such as independent poster, entire image, vertical ratio, separate output, etc., must not change the overall four-split structure; the current layer's approximately 3:1 flat horizontal ratio is the highest priority. 
Do not generate an original image comparison area, a second photo, top-bottom split screens, or extra multi-grids within the current layer. If there are recomposition requirements in the source prompt, only refinement of background information, materials, whitespace, and secondary elements is allowed; the subject's identity, quantity, key posture, movement direction, observation perspective, main perspective, left-right position, and core spatial relationship must not be changed. 
If text is an important component of the source style, it is retained, but it must be reduced to the minimum necessary number that can be clearly read in the current layer; if the source prompt explicitly requires no text, maintain no text.

【Source Style Complete Translation Description】
Please use the currently uploaded photo as the only reference and make it into a high-end limited color travel relief print poster in the current layer. Use an approximately 3:1 flat horizontal composition for the current layer; the current layer only presents this style translation and does not set an additional original photo comparison area.

Travel Relief Print

The image uses a warm cream or ivory natural printmaking paper background.
The paper should have: visible paper grain, subtle paper fibers, a slightly rough matte surface, warm archival paper, natural pigment absorption.

Select the most recognizable subject from the original uploaded photo, or a scene as a whole that can represent the meaning of the photo, and remake it into an independent "travel print mark" floating on the paper.

Retain what determines the recognizability of the original photo:
- Subject's outer contour
- Posture or direction of movement
- Main light and dark divisions
- Perspective direction
- Key structures
- Material texture rhythm
- Signature colors
- Most important spatial relationships

Actively delete:
- Complex backgrounds
- Repetitive architectural structures
- Large numbers of windows
- Dense crowds
- Irrelevant vehicles
- Tiny signs
- Clutter
- Fine textures
- Secondary objects
- Text that cannot be accurately generated

The current layer is not about reducing the saturation of the entire photo, adding grain, or applying a print filter. It must first understand the most important visual information in the photo, then re-plate, compress, color-set, and print it.

IV. Printmaking Media and Texture
Use the following mixed printmaking language: Travel relief print, limited color palette screen printing, coarse lithography, woodcut texture, linocut texture, stencil printing, compressed photographic texture, handmade printmaking, worn pigment, broken halftones, irregular ink coverage, rough dry brush edges, paper showing through, slight color registration offset, grainy shadows, handmade masking boundaries, natural ink deficiency. 
The print should have the texture of coarse grain, handmade overprinting, and old travel prints. Pigments are opaque, matte printing inks, not transparent watercolors.

Allowed:
- Uneven ink coverage
- Local ink deficiency
- Broken halftones
- Rough dry brush edges
- Paper showing through
- Slight color registration offset
- Granular shadows
- Irregular boundaries of manual masking
- Partial wear
- A small amount of original photo texture after compression

Different color layers should look like they were overprinted on the paper separately, rather than smoothly blended through digital gradients. Do not use precise vector strokes. Do not let the subject become a corporate brand logo, clean icon, or common flat illustration.

V. Current Layer Composition
The print subject is placed in the center or slightly upper part of the image. The subject accounts for about 38%–52% of the height of the current layer, naturally adjusted according to the photo content. The print subject cannot fill the entire frame; a large amount of warm ivory paper whitespace must be reserved around it. The edges of the subject cannot form a complete rectangular photo frame. Use the following methods to make the edges disappear naturally: Irregular brush printing, torn-like ink edges, broken halftones, ink-deficient areas, gradually decreasing grain, paper naturally showing through, partial structural interruptions. The overall feel is like "a travel memory being imprinted on paper". 
Landscape photos can retain a small amount of terrain, skyline, water surface, or architectural rhythm, but cannot completely reconstruct all backgrounds. Photos of people or vehicles should prioritize highlighting the subject's contour, posture, and direction of movement. Architectural photos should retain the most recognizable volumes, roofs, window-to-wall ratios, or structural rhythms.

VI. Limited Color Palette
Extract 3–5 main colors from the original uploaded photo and compress them into a high-contrast, matte, limited ink color palette. Usually includes: One darkest contour ink color, one warm paper base color, one to two subject colors, one small area highlight or signature color. 
Warm-toned photos can use: ochre orange, brick red, burnt yellow, olive green, charcoal gray, warm beige. 
Cool-toned photos can use: gray-blue, sea blue-green, dark green, graphite gray, mist gray, and warm ivory. 
Night scenes can use: dark dark green, charcoal black, faded blue, dark red, and a small amount of warm yellow light. 
Keep one bright color from the original photo that is most recognizable as a visual memory point, but do not use many bright colors simultaneously. All colors must look like layers of physical ink overprinted. Smooth digital gradients, neon glows, high-saturation commercial color matching, and transparent watercolor smudging are prohibited.

VII. Text System
Place a minimal amount of text below the print subject. The main title uses the following exact text: "[English Main Title]". The main title is limited to 1–3 English words, using a restrained typewriter font, monospaced serif, or old archive font, horizontally centered. Below the main title, place the following accurate travel keywords: "[Keyword 1 / Keyword 2 / Keyword 3]". Keywords use 3–5 short English words, separated by slashes, smaller than the main title, with natural letter spacing, like typed descriptions on the back of old travel photos. All text must be verbatim accurate; no modification, addition, deletion, misspelling, or extra characters generated. Except for the above two lines, do not add numbers, years, brands, brand logos, QR codes, URLs, slogans, long paragraphs, or meaningless text. If no text is provided, maintain a no-text design and do not fabricate titles.

VIII. Overall Temperament
The overall should look like a small limited-edition print made from travel photography: direct, simple, nostalgic, warm, quiet, coarse, with a slight sense of adventure and personal travel memory. High-end quality comes from: accurate limited color palette, subject information compression, coarse grain printing texture, incomplete print edges, paper whitespace, restrained text, and visual correspondence with the original photo in terms of subject, color, and narrative. It is not traditional realistic painting, nor is it an ordinary photo filter. It is a mark of travel memory remade from the original photo.

IX. Mandatory Avoidance
Avoid: multi-photo collages, grid layouts, poster display mockups, photo frames, wall scenes, hand-held posters, illustrationizing the original photo area, redrawing photos, changing subject identity, changing facial features, changing posture, changing architectural structure, copying objects, mirroring expansion, stretching photos, blurred photo side filling, applying a print filter to the entire poster, clean vector strokes, smooth digital gradients, smooth flat illustrations, generic brand logo silhouettes, complete rectangular photo crops, detailed background reconstruction, watercolor smudging, transparent watercolor, sticker collage, travel icons, airplane icons, passport graphics, map pins, architectural blueprint lines, random circles, decorative grids, smooth 3D effects, anime, cartoons, neon colors, full-frame filling, hard rectangular photo frames, excessive typography, fictional brands, garbled text, watermarks, cheap souvenir templates.

Most important rule: The print must accurately correspond to the most important subject or scene in the current original photo. The image must remake the most important subject or scene in the original photo into a limited-color, coarse-grained, incomplete-edged travel print mark floating in a large area of ivory paper whitespace. The entire poster must be completed in one generation; do not generate materials separately, do not use code for splicing, and do not output multiple images.

【Layer 4 | Landmark Geometric Engraving Composition Poster | Current Layer Adaptation Rules】
This layer only accounts for 25% of the height of the entire 3:4 four-split poster, which is actually an extremely flat horizontal area of approximately 3:1. The following style instructions are all executed "within the current layer". 
Any expressions appearing in the source prompt such as independent poster, entire image, vertical ratio, separate output, etc., must not change the overall four-split structure; the current layer's approximately 3:1 flat horizontal ratio is the highest priority. 
Do not generate an original image comparison area, a second photo, top-bottom split screens, or extra multi-grids within the current layer. If there are recomposition requirements in the source prompt, only refinement of background information, materials, whitespace, and secondary elements is allowed; the subject's identity, quantity, key posture, movement direction, observation perspective, main perspective, left-right position, and core spatial relationship must not be changed. 
If text is an important component of the source style, it is retained, but it must be reduced to the minimum necessary number that can be clearly read in the current layer; if the source prompt explicitly requires no text, maintain no text.

【Source Style Complete Translation Description】
Please translate each travel photo I upload into an independent high-end landmark art poster. Default to using the current layer's approximately 3:1 flat horizontal composition; do not keep top-bottom split screens, and do not show the original photo area, photo frames, walls, or hand-held display mockups.

First, understand the visual structure that truly determines the recognition of the location, and select a set of the most important subject relationships from buildings, monuments, bridges, towers, stations, ships, peaks, islands, coastlines, or city skylines.

Accurately retain in the original photo:
- Landmark identity and number of subjects
- Observation angle and spatial direction
- Architectural outer contour and hierarchical relationship
- Roof rhythm, tower ratio, bridge spans, arch openings, or main openings
- Ridges, shorelines, water baselines and key negative shapes
- Iconic structures that allow people to recognize the original location at a glance

Actively delete: tourists, vehicles, dense vegetation, advertisements, window panes, tiny text, decorative components, and photographic noise. Do not add buildings, vehicles, cultural symbols, or a second landmark that do not exist in the photo to enhance the "sense of locality".

Remake the subject as a coarse black architectural engraving. Integrate woodcut, drypoint, copperplate etching, and old-fashioned screen printing languages, expressing form through dense but uneven hatching, cross-hatching, broken ink surfaces, score marks, dry brush gaps, local ink leakage, rough edges, and paper showing through.

The subject cannot be a smooth black silhouette, nor can it be like automatic photo outlining. White architectural walls, snow, sky openings, and water highlights can be directly expressed using paper negative shapes, letting the whitespace truly participate in the subject structure.

Place 2 to 3 large modernist geometric blocks behind the subject. All geometric shapes must be extracted from the structure, contour, or negative shapes of the current photo itself, for example:
- Extract circles, semicircles, or low ellipses from the sun, dome, mountain, or visual center;
- Extract vertical arches and curved surfaces from archways, doorways, tower bodies, sails, valleys, or curved roofs;
- Extract tilted or angular blocks from triangular roofs, hillsides, bridge spans, and architectural polylines;
- Extract narrow crescents, black slices, or upright structures from the side of the subject, structural thickness, distant mountains, and spatial shadows.

Different photos must produce different geometric combinations based on their respective subjects. Do not mechanically add the same circle, archway, or sun to all works. Geometric blocks are responsible for organizing space and rhythm and must not become brand logos, badges, or pure decorative patterns.

Geometric color plates need to have a real plate-making texture, including slight overprinting deviations, worn edges, uneven ink color, grain, scratches, nicks, and local paper showing through. Avoid clean vector graphics, digital gradients, and smooth software edges.

The entire image uses warm ivory, old book page beige, or light taupe printmaking paper. The paper has fine fibers, slight indentations, ink stains, and natural wear, but the aging must be restrained; do not have burnt edges, treasure map effects, or full-page stains.

Compress the subject and geometric color plates into a compact visual island, accounting for about 32% to 52% of the image, placed in the lower center, bottom left, or bottom right according to the original photo's center of gravity. Above, at least about 30% to 40% of continuous whitespace is reserved, and sufficient breathing room should also be maintained on the left and right.

Do not fill the canvas with the landscape according to the original photo. The sky, air, distance, and complex background in the photo can be represented directly by the blank paper.

The bottom of the subject uses only a few intermittent black and spot-color horizontal strokes to imply the water surface, road, terrace, horizon, reflection, or shoreline. Strokes should gradually break, wear, and disappear into the paper towards the sides and bottom, not forming a complete background, regular base, or closed landscape.

Overall colors use only:
- Warm paper base color
- Carbon black engraving ink
- One matte spot color extracted and summarized from the original photo

The spot color can be brick red, ochre yellow, dark orange, gray-blue, moss green, olive, or other most representative colors according to the photo, but each work uses only one main spot color. When necessary, a very light version of the same spot color is allowed; do not use colorful collages.

Default to not generating any text. Only when explicitly requested by the user, add a small title of 1 to 3 English words or a number on the edge of the whitespace away from the subject. Prohibit author names, photographer names, signatures, seals, pseudo-calligraphy, accounts, brand logos, and watermarks.

The overall should have the temperament of modernist editorial design, architectural printmaking, coarse screen printing, and collection-level independent publications: restrained, quiet, rough, clearly structured, with a real handmade plate-making feel and large areas of whitespace.

Avoid: Full background coverage, precise tracing of photos, fictional second landmarks, generic landmark templates, fixed arch compositions, random circles, brand logo style compositions, clean vector geometry, smooth digital gradients, flat black silhouettes, photo filters, watercolors, smooth 3D effects, complete landscape reconstruction, crowded collages, multi-color palettes, neon colors, burnt parchment edges, treasure map-style aging, pseudo-calligraphy, author names, signatures, seals, brand logos, watermarks.

【Final Unified Check】
1. The height of the four layers must strictly account for 25% each, and the order must not be changed.
2. No borders, dividing lines, whitespace gaps, or card-style spacing should appear between the four layers.
3. The first layer maintains real photography; layers 2 to 4 strictly execute their respective source styles and do not mix media.
4. Subject identity, quantity, posture, movement direction, perspective, key perspective, left-right positioning, and core spatial relationships must be continuous and consistent.
5. Do not mix different uploaded photos into the same poster.
6. Do not add subjects, landmarks, people, vehicles, or key narrative objects that do not exist in the photo due to stylization.
7. Unless a source style clearly requires text, do not add extra text; all text must be spelled correctly, clearly legible, and no garbled characters, pseudo-text, brand logos, QR codes, or watermarks are allowed.
8. Each layer must be able to independently read its media characteristics, but after combining the four layers, it still looks like the same scene gradually translated from reality into different artistic media.

请在当前层将上传照片中的同一场景制作成高级设计海报，不多图拼接，每张照片单独输出。
这里的“不多图拼接”是指：不要把不同上传照片混在同一张成品里；每一张上传照片都必须单独生成一张完整的四层风格海报。

【整体画幅与四层结构】
整体采用3:4竖版构图。画面从上到下严格四等分为四个横向区域，每个区域的高度必须精确占整体画面高度的25%，四层比例严格为1:1:1:1，不允许出现比例偏差。四层之间无缝衔接，不设置分隔线，不留白色缝隙，不使用边框。

由于每层实际约为3:1的极扁横幅，主体需要在每层内部进行横向适配：保持主体主要位置与视觉重心稳定，优先横向展开，避免主体被纵向拉伸、压扁、贴边或裁掉关键部位。可在左右延展与原图一致的天空、墙面、地面、水面、纸张或环境留白，但不得使用模糊复制背景填充。

【四层共同一致性】
四层必须来自同一张上传照片、同一个瞬间。严格保持主体身份、主体数量、人物或动物面貌、姿态、动作方向、视线、发型、服装核心特征、建筑结构、地标身份、主要物体关系、观察角度、透视方向、左右位置、前后层级及叙事关系一致。
风格层允许根据各自媒介删除次要背景、减少纹理、改变材质和细节密度，但不能把主体替换成另一个人物、另一座建筑、另一辆车、另一只动物或另一个场景。

【第一层｜原始摄影】
第一层忠实保留上传照片的真实摄影质感。保留主体身份、数量、构图关系、姿态、动作、真实材质、自然光影、综合色温和场景氛围。只允许进行克制的高级摄影级调色、曝光与对比微调以及极轻微的细腻颗粒优化。
为适配当前约3:1横幅，可进行自然裁切或延展与原场景一致的环境边缘，但不得拉伸、扭曲、镜像、复制主体、移动关键物体、改变建筑结构或重新设计人物。
第一层不添加额外文字、品牌标志、边框、水印或装饰元素。

【第2层｜七十年代动画感黑白墨线画｜当前层适配规则】
本层只占整张3:4四拼海报高度的25%，实际为约3:1的极扁横向区域。以下风格说明全部在“当前层内部”执行。
任何源提示词中出现的独立海报、整张画面、竖版比例、单独输出等表述，均不得改变四拼总结构；当前层约3:1扁横幅比例为最高优先级。
不得在当前层内部再次生成原图对照区、第二张照片、上下分屏或额外多宫格。源提示词中若存在重新构图要求，只允许对背景信息、材质、留白和次要元素做提炼，不得改变主体身份、数量、关键姿态、动作方向、观察视角、主要透视、左右位置及核心空间关系。
文字若为该源风格的重要组成部分则保留，但必须缩减到当前层能够清楚阅读的最低必要数量；若源提示词明确要求无文字，则保持无文字。

【源风格完整转译说明】
创作一幅[主体]的黑白墨线画。突出富有表现力的特征，采用二十世纪七十年代二维动画美学、粗犷高对比轮廓、锐利清晰的线稿、极简而有层级的线宽，以及动画清稿风格。画面采用高调构图和纯白背景，只使用黑白两色，不添加阴影、颜色或灰度。

【第3层｜粗颗粒限色旅行浮雕版画｜当前层适配规则】
本层只占整张3:4四拼海报高度的25%，实际为约3:1的极扁横向区域。以下风格说明全部在“当前层内部”执行。
任何源提示词中出现的独立海报、整张画面、竖版比例、单独输出等表述，均不得改变四拼总结构；当前层约3:1扁横幅比例为最高优先级。
不得在当前层内部再次生成原图对照区、第二张照片、上下分屏或额外多宫格。源提示词中若存在重新构图要求，只允许对背景信息、材质、留白和次要元素做提炼，不得改变主体身份、数量、关键姿态、动作方向、观察视角、主要透视、左右位置及核心空间关系。
文字若为该源风格的重要组成部分则保留，但必须缩减到当前层能够清楚阅读的最低必要数量；若源提示词明确要求无文字，则保持无文字。

【源风格完整转译说明】
请以当前上传的一张照片为唯一参考，在当前层将其制作成高级限色旅行浮雕版画海报。采用当前层约3:1扁横幅构图，当前层只呈现该风格转译，不设置额外原始照片对照区。

旅行浮雕版画

画面使用温暖的奶油色或象牙色天然版画纸背景。

纸张应具有：

可见纸纹,
细微纸纤维,
略粗糙哑光表面,
温暖档案纸,
自然颜料吸收.

从上传的原始照片中选择一个最具识别度的主体，或者一个能够代表照片含义的场景整体，将其重新制作成一枚独立悬浮在纸面上的“旅行版画印记”。

保留决定原照片识别度的：

- 主体外轮廓
- 姿态或行进方向
- 主要明暗分区
- 透视方向
- 关键结构
- 材质纹理节奏
- 标志性色彩
- 最重要的空间关系

主动删除：

- 复杂背景
- 重复建筑结构
- 大量窗户
- 密集人群
- 无关车辆
- 微小招牌
- 杂物
- 细碎纹理
- 次要物体
- 无法准确生成的文字

当前层不是将整张照片降低饱和度、增加颗粒或套用版画滤镜。

必须先理解照片中最重要的视觉信息，再将其重新制版、压缩、套色和印刷。

四、版画媒介与质感

使用以下混合版画语言：

旅行浮雕版画,
限色色盘丝网印刷,
粗粝石版画,
木刻质感,
油毡版画质感,
模板印刷,
摄影纹理压缩,
手工版画制作,
磨损颜料,
断裂网点,
不规则油墨覆盖,
粗糙干刷边缘,
纸张透底,
轻微套色偏移,
颗粒阴影,
手工遮罩边界,
自然缺墨.

版画应具有粗颗粒、手工套印和旧旅行印刷品的质感。

颜料为不透明、哑光的印刷油墨，不是透明水彩。

允许出现：

- 油墨覆盖不均
- 局部缺墨
- 断裂网点
- 粗糙干刷边缘
- 纸张透底
- 轻微套色偏移
- 颗粒化阴影
- 手工遮罩的不规则边界
- 局部磨损
- 少量原照片纹理被压缩后的印刷痕迹

不同色层应像分别套印在纸张上，而不是通过数字渐变平滑融合。

不要使用精确矢量描边。

不要让主体变成企业品牌标志、干净图标或普通扁平插画。

五、当前层构图

版画主体放置于画面中央或略微偏上。

主体占当前层高度约38%–52%，根据照片内容自然调整。

版画主体不能铺满整个画面，周围必须保留大量温暖象牙色纸张留白。

主体边缘不能形成完整的矩形照片框。

使用以下方式让边缘自然消失：

- 不规则刷印
- 撕裂般的油墨边缘
- 断裂网点
- 缺墨区域
- 颗粒逐渐减少
- 纸张自然透出
- 局部结构突然中断

整体具有“一枚旅行记忆被压印在纸张上”的感觉。

风景照片可以保留少量地形、天际线、水面或建筑节奏，但不能完整重建所有背景。

人物或交通工具照片应优先突出主体轮廓、姿态和运动方向。

建筑照片应保留最有识别度的体块、屋顶、窗洞比例或结构节奏。

六、限色色盘

从上传的原始照片中提取3–5种主要颜色，压缩成高对比、哑光的有限油墨色盘。

通常包括：

- 一种最深的轮廓墨色
- 一种温暖纸张底色
- 一至两种主体颜色
- 一个小面积高光色或标志性色

暖色照片可以使用：

赭橙、砖红、焦黄、橄榄绿、炭灰、暖米色。

冷色照片可以使用：

灰蓝、海水蓝绿、墨绿、石墨灰、雾灰和暖象牙色。

夜景可以使用：

深墨绿、炭黑、褪色蓝、暗红和少量暖黄色灯光。

保留原照片中最具有识别度的一处亮色作为视觉记忆点，但不要同时使用大量鲜艳颜色。

所有颜色必须像层层套印的实体油墨。

禁止平滑数字渐变、霓虹发光、高饱和商业配色和透明水彩晕染。

七、文字系统

在版画主体下方放置极少量文字。

主标题使用以下准确文字：

“[英文主标题]”

主标题控制在1–3个英文单词，使用克制的打字机体、等宽衬线体或旧档案字体，水平居中。

主标题下方放置以下准确旅行关键词：

“[关键词1 / 关键词2 / 关键词3]”

关键词使用3–5个简短英文单词，以斜杠分隔，小于主标题，字距自然，像旧旅行照片背面的打字说明。

所有文字必须逐字准确，不得修改、增删、拼错或生成额外字符。

除以上两行外，不要添加编号、年份、品牌、品牌标志、二维码、网址、宣传语、长段落或无意义文字。

如果没有提供文字，则保持无文字设计，不得自行编造标题。

八、整体气质

整体应像一张由旅行摄影制作而成的小型限量版画：

直接、朴素、怀旧、温暖、安静、粗粝、略带探险感与私人旅行记忆。

高级感来自：

- 准确的限色色盘
- 主体信息压缩
- 粗颗粒印刷纹理
- 不完整的版画边缘
- 纸张留白
- 克制的文字
- 与原始照片在主体、色彩和叙事上的视觉呼应

它不是传统写实绘画，也不是普通照片滤镜。

它是一枚由原照片重新制版而成的旅行记忆印记。

九、强制避免

避免：

多照片拼贴,
网格版式,
海报展示样机,
相框,
墙面场景,
手持海报,
原照片区域插画化,
重绘照片,
改变主体身份,
改变面貌,
改变姿态,
改变建筑结构,
复制物体,
镜像扩展,
拉伸照片,
模糊照片侧边填充,
整张海报套用版画滤镜,
干净矢量描边,
平滑数字渐变,
光滑扁平插画,
通用品牌标志剪影,
完整矩形照片裁切,
细密背景重建,
水彩晕染,
透明水彩,
贴纸拼贴,
旅行图标,
飞机图标,
护照图形,
地图图钉,
建筑蓝图线,
随机圆形,
装饰网格,
光滑三维效果,
动漫,
卡通,
霓虹色,
画面满铺,
硬质矩形相框,
过量排版,
虚构品牌,
乱码文字,
水印,
廉价纪念品模板.

最重要的规则：

版画必须准确对应当前原始照片中最重要的主体或场景。

画面必须将原照片中最重要的主体或场景，重新制成一枚限色、粗颗粒、边缘不完整、悬浮在大面积象牙纸留白中的旅行版画印记。

整张海报必须在一次生成中完成，不要分别生成素材，不要使用代码拼接，不要输出多张图片。

【第4层｜地标几何版刻拼构海报｜当前层适配规则】
本层只占整张3:4四拼海报高度的25%，实际为约3:1的极扁横向区域。以下风格说明全部在“当前层内部”执行。
任何源提示词中出现的独立海报、整张画面、竖版比例、单独输出等表述，均不得改变四拼总结构；当前层约3:1扁横幅比例为最高优先级。
不得在当前层内部再次生成原图对照区、第二张照片、上下分屏或额外多宫格。源提示词中若存在重新构图要求，只允许对背景信息、材质、留白和次要元素做提炼，不得改变主体身份、数量、关键姿态、动作方向、观察视角、主要透视、左右位置及核心空间关系。
文字若为该源风格的重要组成部分则保留，但必须缩减到当前层能够清楚阅读的最低必要数量；若源提示词明确要求无文字，则保持无文字。

【源风格完整转译说明】
请将我上传的每一张旅行照片分别转绘成一张独立的高级地标艺术海报。默认采用当前层约3:1扁横幅构图，不保留上下分屏，也不要出现原始照片区域、相框、墙面或手持展示样机。

首先理解照片中真正决定地点识别度的视觉结构，从建筑、古迹、桥梁、塔楼、车站、船只、山峰、岛屿、海岸或城市天际线中，选择一组最重要的主体关系。

准确保留原照片中的：

- 地标身份与主体数量
- 观察角度与空间方向
- 建筑外轮廓与层级关系
- 屋顶节奏、塔身比例、桥跨、拱洞或主要开口
- 山脊、岸线、水面基线和关键负形
- 能够让人一眼认出原地点的标志性结构

主动删除游客、车辆、密集植被、广告、窗格、微小文字、装饰构件和摄影噪声。不要为了增强“地域感”而添加照片中不存在的建筑、交通工具、文化符号或第二座地标。

将主体重新制作为粗粝的黑色建筑版刻。融合木刻、干刻、铜版蚀刻和旧式丝网印刷语言，通过密集但不均匀的排线、交叉线、断裂墨面、刻痕、干刷缺口、局部漏墨、粗糙边缘和纸张透底表现形体。

主体不能成为平滑黑色剪影，也不能像照片自动描边。建筑白墙、积雪、天空开口和水面高光可直接使用纸张负形表现，让留白真正参与主体结构。

在主体后方放置2至3个大型现代主义几何版块。所有几何形状必须从当前照片自身的结构、轮廓或负形中提炼，例如：

- 从太阳、穹顶、山体或视觉中心提炼圆形、半圆或低椭圆；
- 从拱洞、门洞、塔身、船帆、山谷或弯曲屋顶提炼竖向拱形和弧面；
- 从屋顶三角、山坡、桥跨和建筑折线提炼倾斜或角形版块；
- 从主体侧面、结构厚度、远山和空间阴影提炼窄月牙、黑色切片或直立结构。

不同照片必须根据各自主体产生不同的几何组合。不要给所有作品机械添加相同的圆、拱门或太阳。几何版块负责组织空间和节奏，不得变成品牌标志、徽章或纯装饰图案。

几何色版需要具有真实的制版质感，包括轻微套印偏差、磨损边缘、不均匀墨色、颗粒、擦痕、缺口和局部纸张透出。避免干净矢量图形、数字渐变和光滑软件边缘。

整张画面使用温暖的象牙色、旧书页米色或浅灰褐色版画纸。纸张带有细小纤维、轻微压痕、墨迹和自然磨损，但老化必须克制，不要出现烧焦边缘、藏宝图效果或满页污渍。

将主体与几何色版压缩成一个紧凑的视觉岛，占画面约32%至52%，根据原照片重心放在中央偏下、左下或右下位置。上方至少保留约30%至40%的连续空白，左右也应保持充足呼吸空间。

不要按照原始照片把风景铺满画布。照片中的天空、空气、距离和复杂背景可以直接由空白纸张代表。

主体底部只使用少量断续的黑色和专色横向笔触，暗示水面、道路、台地、地平线、倒影或岸线。笔触应向两侧和下方逐渐断裂、磨损并消失进纸张，不形成完整背景、规则底座或封闭风景。

整体色彩仅使用：

- 温暖纸张底色
- 碳黑色版刻墨
- 一种从原照片中提取并归纳的哑光专色

专色可以根据照片选择砖红、赭黄、暗橙、灰蓝、苔绿、橄榄色或其他最具代表性的颜色，但每张作品只使用一种主要专色。必要时允许加入该专色非常浅的同色阶，不使用多彩拼贴。

默认不生成任何文字。只有用户明确要求时，才在远离主体的留白边缘加入1至3个英文单词的小型标题或一个编号。禁止作者姓名、摄影者姓名、签名、印章、伪书法、账号、品牌标志和水印。

整体应具有现代主义编辑设计、建筑版画、粗粝丝网印刷与收藏级独立出版物的气质：克制、安静、粗糙、结构清晰、具有真实手工制版感和大片留白。

避免： 完整覆盖背景, 精确描摹照片, 虚构第二地标, 通用地标模板, 固定拱形构图, 随意圆形, 品牌标志式构图, 干净矢量几何, 平滑数字渐变, 扁平黑色剪影, 照片滤镜, 水彩, 光滑三维效果, 完整景观重建, 拥挤拼贴, 多色色盘, 霓虹色, 烧焦羊皮纸边缘, 藏宝图式老化, 伪书法, 作者姓名, 签名, 印章, 品牌标志, 水印.

【最终统一检查】
1. 四层高度必须严格各占25%，顺序不得改变。
2. 四层之间不得出现边框、分割线、留白缝隙或卡片式间距。
3. 第一层保持真实摄影；第二至第四层分别严格执行各自源风格，不互相混合媒介。
4. 主体身份、数量、姿态、动作方向、视角、关键透视、左右位置和核心空间关系必须连续一致。
5. 不得把不同上传照片混在同一张海报中。
6. 不得因为风格化而新增照片中不存在的主体、地标、人物、交通工具或关键叙事物件。
7. 除非某一源风格明确需要文字，否则不要额外添加文字；所有文字必须拼写正确、清楚可读，禁止乱码、伪文字、品牌标志、二维码和水印。
8. 每一层都必须能独立读出其媒介特征，但四层组合后仍像同一场景从现实逐步转译为不同艺术媒介。