Photo and Cut-Paper Editorial Poster

Format

Text

Inputs

Uploaded_photo (image) · Required

Outputs

Editorial_poster (image)

For each uploaded photo, create one separate, high-end editorial design poster. Do not combine the photos; output one poster per photo.

Use a 3:4 vertical canvas divided into two equal horizontal halves, with a strict 1:1 aspect ratio for each half. Each half occupies 50% of the canvas.

Upper half: Preserve the original photo in full, maintaining the subject’s identity, structure, pose, proportions, realistic texture, natural lighting, and original colors. Apply only subtle, refined color grading to give it the feel of an art magazine or exhibition photography. You may naturally extend the background to fit the canvas, but do not stretch or distort the subject or alter it.

Lower half: Extract the original photo’s most recognizable subject, silhouette, structure, movement, and narrative relationship, and reinterpret them as a Textured Cut-out Editorial Spot Illustration. Do not fully redraw the scene or reproduce it as a smaller copy. Retain only a few essential visual memory cues, simplifying them with irregular geometric shapes, rough cut-paper edges, and a small amount of layering. The illustration should correspond to the photo without becoming a replica of it.

Emphasize “tiny graphic, vast negative space.” Let the solid graphic occupy only about 15–25% of the lower half; keep the rest clean, white paper. Compose the subject with only a very small number of supporting elements as a compact visual island. Based on the original image’s visual balance, the island may be off-center, low, to one side, suspended, or partially cropped. Do not distribute elements evenly across the space. Let the negative space convey air, distance, rhythm, and openness, creating the small, precise, loose, quiet quality of a refined magazine spot illustration.

Build forms from a few irregular polygons, hard-edged color blocks, and bold contours. Preserve handmade imperfections, faceted surfaces, and rough cut-paper edges. Do not aim for rounded forms, precise perspective, or realistic volume. Use gouache-, dry-pastel-, or colored-pencil-like granular coloring, retaining unpainted areas, scuffs, uneven pigment, and paper grain. Use selective light and shadow only to make the subject recognizable. Avoid wet watercolor, complete naturalistic shading, smooth vector graphics, and a 3D appearance.

Use the palette of “large areas of white paper plus small areas of true local color.” Let white or very pale warm white dominate; do not apply a uniform tint. Extract memorable local colors from the original photo and refine and brighten them moderately. Preserve green in plants, reds and pinks in flowers and fruit, orange and yellow in sunlight, cyan and blue in water and sky, and the natural browns, creams, purples, and grays of wood, food, and objects. Multiple colors may coexist, separated by generous white space, so the result feels lively but not noisy. Do not uniformly gray down the palette, give it a muted Morandi treatment, apply a warm-yellow filter, or deliberately reduce saturation. Use black only sparingly for text or a visual anchor.

Add only a small amount of editorial text. You may distill a few words or a short phrase from the subject, action, location, everyday details, mood, or metaphor. Place it lightly in the negative space using type with a subtle handmade-print quality. There is no fixed language or format.

The final design should feature a tiny visual island, generous clean negative space, rough geometric cut-paper edges, dry granular texture, true local colors, and refined editorial typography. Reorganize the visual balance of the lower half for each original photo. Avoid filling the frame, illustrating the entire scene, muddy low-saturation colors, thick black outlines, complex backgrounds, and repetitive template-like compositions.