线迹旅行记忆负形海报设计

Please turn each travel photo I upload into an independent "Stitch Travel Memory" editorial poster, outputting each photo separately without any multi-image stitching. This style is suitable for photos of 1–3 people with complete silhouettes and clear postures, involving actions such as walking, holding hands, holding umbrellas, supporting each other, gliding, hugging, climbing, or other directional movements. It is best if the photos contain roads, railings, shadows, waterfronts, ropes, tracks, or movement traces that can be developed into a continuous stitch line running through the frame. The overall design adopts a 3:4 vertical double-layer structure, but it is not a common top-photo-bottom-illustration contrast; instead, it is a "negative memory structure" where the upper figures are hollowed out and the lower figures are filled back in. The upper part accounts for approximately 58%–66% of the frame. Faithfully preserve the environmental photography from the original photo, including architecture, roads, mountains/water, sky, light and shadow, perspective, weather, location colors, and spatial relationships, applying only slight desaturation, a powdery texture, and old art publication color grading. The figures in the photo, following their original count, position, scale, posture, movement direction, body overlap, and contact relationships, are to be completely replaced with warm paper-white negative silhouettes. The figure negatives must accurately cover the original positions of the figures, without moving, enlarging, or changing their postures. Edges should be clear but with a slight paper fiber texture, using only minimal graphite inner lines to hint at hair, hands, clothing boundaries, backpacks, umbrellas, cameras, or movement contact points. The interior of the upper figures cannot retain photographic colors, nor can it just have a white stroke added. The viewer should feel that the people have left the real scene, leaving behind only an accurate paper-white vacancy. The lower part accounts for approximately 34%–42% of the frame. Use warm off-white coarse-textured paper as a continuous background. Reintroduce the same group of people from the upper part in identical postures, counts, movement relationships, and core objects, reduced in size and filled back in as deep charcoal grey, faded black ink, or graphite solid "figure echoes". Lower figures typically occupy 20%–42% of the width and 25%–55% of the height of the lower area, significantly smaller than the upper negatives. Based on the original movement direction, place them in the left-leaning, right-leaning, or center-bottom area to create a vertical, diagonal, or movement-directional echo with the upper figures. The lower part must maintain at least 55% continuous paper white. Only one to three extremely faint graphite lines are allowed to hint at roads, hillsides, railings, waterfronts, or environmental directions; do not redraw a complete background. Select a real meaningful movement or environmental clue from the photo, such as: the position of held hands, an umbrella handle, a camera strap, walking footsteps, a mountain road curve, bridge deck perspective lines, railing directions, a gliding trajectory, waterfronts or figure shadows. Develop it into a continuous hand-drawn line in ochre red, dark red, grey-blue, or rust red. The main line must have the authentic texture of a pencil, wax line, or stitching, showing slight jitters, thickness variations, pauses, loops, and intermittent pressure. It should start from a real action contact point of the upper figures, extend along the photo's environmental direction, cross the horizontal boundary, and then connect to or surround the corresponding hand, foot, or core object of the lower figures. The stitch line cannot suddenly stop at the upper-lower boundary, nor can it become a smooth digital path or meaningless decoration. Keep colors restrained. The upper part retains the primary location colors of the photo but with reduced noise and saturation; figure negatives use warm paper white. The lower part is dominated by warm white, charcoal grey, and faded black ink, with one or two low-saturation environmental colors extracted from the photo as extremely faint auxiliary traces, using one dark red or grey-blue main line to connect the top and bottom. Based on the real location, action, and emotion in the photo, include: a main title of 1–3 English words; a short field, such as "FIELD NOTE 01"; one observation sentence of 5–12 English words. The observation sentence must be determined word-for-word in the prompt in advance and split into 2–4 segments, distributed across the upper and lower layers along the road, movement direction, or the main line's curve. At least one segment of text should be close to, intertwined with, or a continuation of the cross-zone main line. Use thin, slightly hesitant handwriting, pencil lowercase, or wax-line-like writing for fonts. Text can be slightly rotated along curves but must be clearly legible. The main title should be located in the lower continuous blank space, remaining identifiable at chat preview sizes. Avoid: ordinary top-photo-bottom-illustration, upper figures still retaining photographic fill, only adding white outlines, figure negatives deviating from original positions, upper and lower figures having different postures, changes in the number of figures, lower figures being too large, completely redrawing the lower environment, lines stopping at the boundary, smooth vector paths, fashion silhouettes, colorful cartoons, dense decorations, regular digital text boxes, author names, signatures, logos, URLs, QR codes, watermarks, and gibberish. Most important rule: the upper part shows an accurate paper-white vacancy left after the figures depart; the lower part shows the same action reduced and falling back onto the paper. A line with handcrafted texture and text along the line must connect the two identical postures into the same travel memory.

请将我上传的每一张旅行照片分别制作成一张独立的「线迹旅行记忆」编辑海报，每张照片单独输出，不进行多图拼接。

这套风格适合包含1～3名轮廓完整、姿态明确、具有行走、牵手、撑伞、搀扶、滑行、拥抱、攀登或其他方向性动作的人物照片。照片中最好存在道路、栏杆、影子、水岸、绳索、轨道或运动痕迹，可以发展为贯穿画面的连续线迹。

整体采用3:4竖版双层结构，但不是普通的照片与插画上下对比，而是“上部人物被挖空、下部人物被补回”的负形记忆结构。

上部约占画面58%～66%。

忠实保留原始照片中的环境摄影，包括建筑、道路、山水、天空、光影、透视、天气、地点色彩和空间关系，仅进行轻微灰化、粉质化与旧艺术出版物调色。

将照片中的人物按照原始数量、位置、尺度、姿态、动作方向、身体重叠和接触关系，完整替换为温暖纸白色的负形剪影。

人物负形必须准确覆盖原人物原本的位置，不得移动、放大或改变姿态。边缘清晰但略带纸张纤维，只使用极少量石墨内线暗示头发、手部、衣服分界、背包、雨伞、相机或动作接触点。

上部人物内部不能继续保留摄影颜色，也不能只添加一圈白色描边。观者应该感觉人物已经从真实场景中离开，只留下一个准确的纸白空位。

下部约占画面34%～42%。

使用温暖米白色粗纹纸张作为连续背景，将上部同一组人物以完全相同的姿态、数量、动作关系和核心物件，缩小后重新补回为深炭灰、褪黑墨或石墨实心人物回声。

下部人物通常占下半区域宽度20%～42%、高度25%～55%，明显小于上部负形。根据原照片的动作方向，将其放置在偏左、偏右或中下区域，与上部人物形成垂直、斜向或运动方向上的呼应。

下部至少保留55%的连续纸白。只允许使用一至三条极淡石墨线暗示道路、山坡、栏杆、水岸或环境方向，不得重新绘制完整背景。

从照片中选择一条具有真实意义的动作或环境线索，例如：

- 人物牵手的位置
- 雨伞伞柄
- 相机背带
- 行走脚步
- 山路曲线
- 桥面透视线
- 栏杆方向
- 滑行轨迹
- 水岸或人物影子

将它发展为一根赭红、暗红、灰蓝或铁锈红色的连续手绘线。

主线必须具有铅笔、蜡线或缝线般的真实材质，出现轻微抖动、粗细变化、停顿、回旋和断续压力。它应从上部人物的真实动作接触点出发，顺着照片环境方向延伸，跨过水平分界，再连接或环绕下部人物的对应手部、脚步或核心物件。

线迹不能在上下分界处突然停止，也不能变成光滑的数字路径或无意义装饰。

色彩保持克制。上部保留照片的主要地点色彩，但降低杂色与饱和度；人物负形使用暖纸白。下部以暖白、炭灰、褪黑墨为主，从照片中提取一至两种低饱和环境色作为极淡辅助轨迹，并使用一根暗红或灰蓝主线连接上下。

根据照片中的真实地点、动作和情绪加入：

- 一个1～3个英文单词的主标题；
- 一个简短字段，如“FIELD NOTE 01”；
- 一句5～12个英文单词的观察句。

观察句必须在提示词中提前逐字确定，并拆成2～4段，沿道路、人物动作方向或主线弧度分布在上下两层。至少一段文字应与跨区主线发生贴近、缠绕或延续关系。

字体使用纤细、略显迟疑的手写体、铅笔小写或蜡线般书写。文字可以沿曲线轻微旋转，但必须清楚可读。主标题应位于下部连续留白中，在聊天预览尺寸下仍然能够辨认。

避免：普通上方照片下方插画、上部人物仍保留摄影填充、仅添加白色轮廓、人物负形偏离原位、上下人物姿态不同、人物数量变化、下部人物过大、下部完整重画环境、线迹在分界处停止、光滑矢量路径、时尚人物剪影、彩色卡通、密集装饰、规整数字文本框、作者名、签名、Logo、网址、二维码、水印和假字。

最重要的规则：上部看见的是人物离开后留下的准确纸白空位；下部看见的是同一个动作被缩小后重新落回纸面。一根具有手工材质的线和沿线文字，必须把两个相同姿态连接成同一段旅行记忆。