极简手绘蜡笔剪影与摄影拼贴画报

Please turn each photo I upload into an independent high-end design poster, no multi-image stitching, with each photo output separately. The overall layout uses a 3:4 vertical composition, with the top and bottom regions strictly 1:1 in height, each occupying 50% of the frame.

The upper half preserves the original photo, maintaining the subject's identity, structure, posture, realistic texture, natural lighting, and original color atmosphere, with only slight high-end photography color grading to give it the texture of an art magazine, independent publication, or exhibition photography. To adapt to the frame, the sky, ground, or environmental background can be naturally extended, but the subject must not be stretched, distorted, or changed.

The lower half extracts the most recognizable subject, outline, posture, and narrative relationship from the photo, reconstructing it into a minimalist thick black dry-media silhouette illustration. Do not mechanically trace photo details; instead, compress the subject into a rounded, stout, and slightly naive generalized form. Appropriately enlarge the head, main outlines, or the most memorable parts so it remains instantly recognizable with minimal information. If the photo contains multiple subjects, preserve the most important interaction, treating them as a single visual unit rather than scattering the focus equally.

The lower half uses only a near-pure white paper background + thick black crayon, charcoal, or dry-erase marks, with no color and no grayscale gradients. The black shapes are not smooth solid vector blocks but are formed by short, powerful repeated crayon strokes, preserving paper grain, broken strokes, indentations, rough edges, uneven thickness, and local white gaps. Outlines are slightly shaky, incomplete, and imprecise, maintaining a real handmade feel.

The subject's most critical identifying features can be strengthened through "white feature areas suddenly cut out from the black silhouette," such as the face, around the eyes, window openings, vessel mouths, animal faces, core structures of objects, or the most recognizable parts; then use minimal black dots, short lines, or symbols to complete expressions and details. Do not pursue realistic features or precise structures, but let a direct, interesting, and strong recognition relationship form between black and white.

The composition maintains large areas of pure negative space + one primary visual relationship. The subject can be centered and floating, or slightly offset, partially cropped, or close to the bottom of the frame, using only a rough ground friction line, a few short lines, or minimal environmental symbols to suggest space. Grass, raindrops, smoke, tabletops, shadows, roads, wind, or other environmental information should be compressed into minimal crayon marks, keeping the background quiet and empty. The overall pursuit is not a complex scene, but letting a posture, action, distance, or relationship bear the main narrative.

The text retains a small system of fine print that coexists with a sense of high-end editorial and children's books. Do not just write the name of the place or object, but extract a short English title from the emotions, actions, relationships, time, or tiny stories in the photo, paired with a serial number, a fitting golden quote, a chapter number, or a very short, implicit copy. Text can be restrained small printed type, or include a very small amount of clumsy handwriting, crayon lettering, or not completely regular glyphs, making it look as if it originally belonged to this illustration.

The text needs to have a clever relationship with the graphics: it can be arranged along the ground line, extend in the direction of the subject's movement, hide in large areas of negative space, slightly overlap with outlines, get stuck in the negative space between two subjects, or use a thin line to connect the number to the subject. Keep it to "one short title + 1–2 sets of tiny auxiliary text," making the text part of the compositional rhythm rather than a regular poster title.

The overall presentation features black that is thick, white that is clean, shapes that are simple, and textures that are rough, maintaining a subtle balance between childishness, softness, quietness, humor, and loneliness, like an old black-and-white children's book re-edited by a high-end design studio. Avoid smooth digital outlines, precise line art, realistic lighting and shadows, impasto, 3D effects, color, large areas of gray rendering, cartoon sticker feel, and templated commercial illustration.

请将我上传的每一张照片分别制作成一张独立的高级设计海报，不多图拼接，每张照片单独输出。整体采用3:4竖版构图，上下两个区域高度严格1:1，各占画面50%。

上半部分保留原始照片，保持主体身份、结构、姿态、真实质感、自然光影和原有色彩氛围，仅进行轻微高级摄影调色，使其具有艺术杂志、独立出版物和展览摄影质感。为适配画幅，可自然扩展天空、地面或环境背景，但不得拉伸、扭曲或改变主体。

下半部分提取照片中最具识别性的主体、轮廓、姿态与叙事关系，重构为极简粗黑干媒介剪影插画。不要机械描摹照片细节，而是将主体压缩成圆润、敦厚、略带稚拙感的概括形体，可适度放大头部、主要轮廓或最有记忆点的局部，使其在极少信息下仍能一眼识别原物。若照片包含多个主体，则保留最重要的互动关系，将它们视为一个整体视觉单元，而不是平均分散焦点。

下半部分只使用近乎纯白的纸面底 + 浓黑蜡笔、炭笔或干擦痕迹，不使用彩色，不使用灰阶渐变。黑色形体不是光滑实心矢量块，而是由短促、有力度的蜡笔反复涂抹形成，保留纸张颗粒、断笔、压痕、边缘毛糙、浓淡不均和局部露白。轮廓略微摇晃、不完整、不精确，让画面保持真实手作感。

主体最关键的识别特征可通过“黑色剪影中突然切出的白色特征区”强化，例如脸部、眼睛周围、窗洞、器皿开口、动物面部、物件核心结构或最具有辨识度的局部；再以极少黑点、短线或符号完成表情与细节。不要追求写实五官和精密结构，而是让黑、白之间形成直接、有趣而强烈的辨识关系。

构图保持大面积纯净留白 + 一个主要视觉关系。主体可居中悬浮，也可轻微偏置、局部裁切或靠近画面下方，仅用一条粗糙地面摩擦线、几根短线或极少环境符号提示空间。草叶、雨丝、烟气、桌面、影子、道路、风或其他环境信息都应被压缩成极少的蜡笔记号，让背景保持安静空旷。整体不追求复杂场景，而让一个姿态、动作、距离或关系承担主要叙事。

文字保留少量高级编辑感与童书感并存的小字系统。不要只写地点或物体名称，而从照片中的情绪、动作、关系、时间或微小故事提炼一个简短英文标题，再搭配编号、适配的金句、章节号或一句极短的含蓄小文案。文字可以是克制的印刷小字，也可以加入极少量笨拙手写、蜡笔字或不完全规整的字形，使其像原本就属于这幅插画。

文字需要与图形发生巧妙关系：可以贴着地面线排列、沿主体动作方向延伸、躲在大片留白中、与轮廓产生轻微遮挡、卡在两个主体之间的负形里，或用一条细线把编号与主体连接起来。保持“一个短标题 + 1–2组极小辅助文字”即可，让文字成为构图节奏的一部分，而不是普通海报标题。

整体呈现黑要粗、白要净、形要简、质要糙的视觉特征，在童稚、温软、安静、幽默与孤独之间保持微妙平衡，像一本由高级设计工作室重新编辑的旧黑白童书。避免光滑数字描边、精密线稿、写实光影、厚涂、3D效果、彩色、大面积灰色渲染、卡通贴纸感和模板化商业插画。