写实摄影与现代朱红地标剪纸拼贴海报

Please turn every travel photo I upload into an individual high-end design poster. Output each photo separately; it is forbidden to stitch multiple photos into the same frame.

The overall composition uses a 3:4 vertical layout, consisting of a real photo and a transformation of the same scene. The top and bottom areas have a height ratio close to 1:1, using a clear, straight, and restrained horizontal boundary. Do not apply feathering, blurring, gradual blending, or material seepage at the boundary.

## Top Section: Original Photo

Faithfully preserve the identity of the subject, architectural structure, topographical relationships, number of people or animals, postures, observation angles, relative positions, real textures, natural lighting, and original color atmosphere from the original photo.

Apply only slight color grading suitable for art publications, architectural magazines, or travel photography, and add a very thin film grain. The top section must remain a clear, real original photographic work with substantial area, and must not be illustrated, have the subject redrawn, have the sky replaced, have people moved, have architecture changed, or have non-existent landmarks added.

To adapt to the layout, a small amount of sky, ground, or surrounding environment can be naturally extended, but the subject must not be stretched, mirrored, squeezed, copied, or distorted.

## Bottom Section: Vermilion Landmark Papercut

Extract the most recognizable landmark subject from the same photo and reconstruct it into a monochromatic vermilion papercut work with a modern editorial design feel.

Do not copy the full framing of the original photo, nor simply turn the entire photo into a red silhouette. Proactively remove complex backgrounds, repetitive buildings, tiny window panes, dense plants, billboards, cluttered pedestrians, and irrelevant environments, keeping only:

- The most recognizable overall outline of the landmark;
- Architectural levels, roof rhythms, or mountain trends;
- Key negative space openings such as doorways, bridge holes, and window holes;
- One necessary foreground relationship line;
- A minimal amount of subsidiary silhouettes that can explain the location's space.

Adopt a secondary composition of "full-bleed impact + negative space cutting." The subject can be enlarged to 70%–105% of the transformation area height, allowing parts of the outline to naturally go out of frame, but the scale, cropping, and visual center of gravity of the subject must be readjusted, and it cannot maintain the same composition as the photo above.

The subject is cut from a single continuous piece of solid vermilion paper, not a collage of many fragmented red icons. Use the paper-white negative space to cut out doors, windows, eaves, bridge holes, gaps between tree canopies, valleys, and the sky, so that the red and white paper together shape the structure.

The edges of the papercut must be clear, sharp, and complete, with slight real paper fibers, blade undulations, and manual cutting errors. A very small amount of creases or indentations may appear locally, but the overall feel should remain that of flat paper art.

Do not add traditional festive window flowers, bird-and-flower patterns, lace edges, symmetrical decorations, or Lunar New Year papercut elements. It is a modern landmark papercut editorial poster, not a festive decoration.

## Color and Paper

By default, the transformation section uses only:

- A deep and restrained vermilion paper;
- A warm natural rice-white paper;
- A very small amount of indentations in the same color shades.

The vermilion should not be too bright, too orange, or plasticized; it should be close to mineral cinnabar, old ink pads, and matte dyed paper. The paper white accounts for the sky, highlights, air, and spatial distance.

Proactively leave about 20%–35% of continuous paper-white space to one side of or above the subject. The white space must form a clear contrast of weight and density with the vermilion subject; do not use template-style white sidebars.

## Text

Before generation, determine the following text based on the actually visible location, building, or scenery in the photo, and render it accurately word for word in the image:

- A main title of 1–3 English words; use the actual place name when the location is clear, and use "LANDMARK" or a generalized title related to the subject when it cannot be confirmed;
- Material field: "PAPERCUT STUDY 01";
- One observation sentence of 5–12 English words, describing only the outlines, directions, colors, or spatial relationships that truly exist in the photo.

Place the text collectively in the continuous paper-white area; do not scatter it evenly across the four corners. The main title must be clearly readable at chat preview size.

The text should use embossed lead type, ink-starved printed characters, or narrow uppercase fonts in the same color as the vermilion papercut, with edges showing slight paper teeth and ink gaps, as if printed on the paper alongside the papercut. Do not use smooth, floating digital typography.

Author names, signatures, social media accounts, URLs, QR codes, fictional brands, meaningless numbers, fake Chinese, and gibberish are prohibited.

## Overall Vibe

Modern, restrained, sharp, quiet, with cultural recognition and a sense of collectability, like a landmark papercut research poster produced by an independent art publisher.

Mandatory avoidance: photorealistic lower panel, same-crop same-scale redraw, red photo filter, detailed multicolor illustration, decorative folk lace, symmetrical festival papercut, generic souvenir template, scattered icons, glossy plastic, 3D render, soft blurred edges, smooth vector shapes, excessive details, excessive text, missing source-photo comparison, distorted architecture, invented landmark, fake text, watermark.

请将我上传的每一张旅行照片分别制作成一张独立的高级设计海报。每张照片单独输出，禁止把多张照片拼接在同一画面中。

整体采用3:4竖版构图，画面由真实照片与同场景转绘组成。上下区域高度接近1:1，使用清楚、平直、克制的水平边界，不要在分界处进行羽化、模糊、渐融或材质渗透。

## 上半部分：原始照片

忠实保留原始照片中的主体身份、建筑结构、地形关系、人物或动物数量、姿态、观察角度、相对位置、真实材质、自然光影和原有色彩氛围。

只进行轻微的艺术出版物、建筑杂志或旅行摄影调色，并加入极薄的胶片颗粒。上半部分必须仍然是一张清楚、真实、具有实质面积的原始摄影作品，不得插画化、重绘主体、替换天空、移动人物、改变建筑或增添不存在的地标。

为适配版式，可以自然延展少量天空、地面或周边环境，但不得拉伸、镜像、挤压、复制或扭曲主体。

## 下半部分：朱红地标剪纸

从同一张照片中提取最具识别度的地标主体，将其重构为一枚具有现代编辑设计感的单色朱红剪纸作品。

不要照搬原照片的完整取景，也不要把整张照片简单转成红色剪影。主动删除复杂背景、重复建筑、微小窗格、密集植物、广告牌、杂乱行人和无关环境，只保留：

- 地标最具识别度的整体轮廓；
- 建筑层级、屋顶节奏或山峰走向；
- 门洞、桥洞、窗洞等关键负形开口；
- 一条必要的前景关系线；
- 极少量能够说明地点空间的附属剪影。

采用“满版冲击＋负形切割”的二次构图。可以将主体放大到转绘区域高度的70%–105%，允许部分轮廓自然出画，但必须重新调整主体尺度、裁切和视觉重心，不能与上方照片保持相同构图。

主体由一张连续的朱红色实体纸张剪成，不是许多零碎红色图标的拼贴。通过纸白负形切出门窗、屋檐、桥洞、树冠间隙、山谷和天空，使红纸与白纸共同塑造结构。

剪纸边缘必须清楚、锐利、完整，带有轻微真实纸纤维、刀口起伏和手工裁切误差。局部可以出现极少量折痕或压痕，但整体保持平面纸艺感。

不要加入传统喜庆窗花、花鸟纹样、蕾丝花边、对称装饰和春节剪纸元素。它是一幅现代地标剪纸编辑海报，而不是节庆装饰品。

## 色彩与纸张

转绘部分默认只使用：

- 深沉克制的朱红色纸张；
- 温暖的天然米白纸；
- 极少量同色深浅压痕。

朱红不能过亮、过橙或塑料化，应接近矿物朱砂、旧印泥和哑光染色纸。纸白承担天空、高光、空气和空间距离。

在主体一侧或上方主动留下约20%–35%的连续纸白空场。留白必须与朱红主体形成明确的轻重和疏密对比，不要使用模板式白色边栏。

## 文字

在生成前，根据照片真实可见的地点、建筑或景物确定以下文字，并在画面中逐字准确渲染：

- 一个1–3个英文单词的主标题；地点明确时可使用真实地点名，无法确认时使用“LANDMARK”或与主体有关的泛化标题；
- 材料字段：“PAPERCUT STUDY 01”；
- 一行5–12个英文单词的观察句，只描述照片中真实存在的轮廓、方向、颜色或空间关系。

文字集中放置在连续纸白区域，不要平均散布在四角。主标题必须在聊天预览尺寸下清楚可读。

文字采用与朱红剪纸相同颜色的压印铅字、缺墨印刷字或窄体大写字体，边缘带轻微纸齿和油墨缺口，像与剪纸一起印在纸面上，不要使用光滑悬浮的数字排版。

禁止作者名、签名、社交账号、网址、二维码、虚构品牌、无意义编号、假中文和乱码。

## 整体气质

现代、克制、锐利、安静、具有文化识别度和收藏感，像独立艺术出版社制作的地标剪纸研究海报。

强制避免：photorealistic lower panel, same-crop same-scale redraw, red photo filter, detailed multicolor illustration, decorative folk lace, symmetrical festival papercut, generic souvenir template, scattered icons, glossy plastic, 3D render, soft blurred edges, smooth vector shapes, excessive details, excessive text, missing source-photo comparison, distorted architecture, invented landmark, fake text, watermark.