Split-Panel Photo and Rough-Wax Silhouette Poster

For each photo I upload, create a separate high-end designer poster. Do not combine multiple photos into one image; produce one poster per photo.

Use a vertical 3:4 composition divided into two equal horizontal zones, each occupying exactly 50% of the canvas height.

**Upper half — photograph**
Preserve the original photo, including the subject’s identity, structure, pose, realistic texture, natural light and shadow, and original color atmosphere. Apply only subtle, high-end photographic refinement, as for an art magazine, independent publication, or exhibition photograph. You may naturally extend the sky, ground, or background to fit the format, but never stretch, distort, or alter the subject.

**Lower half — illustration**
Extract the most recognizable subject, outline, pose, and narrative relationships from the photo, and reconstruct them as an ultra-minimalist silhouette illustration in a rough dry-media technique. Do not mechanically copy photographic details. Simplify the subject into a rounded, substantial, slightly naive generalized shape. You may modestly enlarge the head, key contours, or most memorable features so the subject is immediately recognizable despite the minimal detail. If there are multiple subjects, preserve their most important interaction and treat them as one visual unit rather than giving each equal emphasis.

Use only an almost pure white paper background and dense black wax crayon, charcoal pencil, or dry-brush marks. No color and no gray gradients. Build black shapes from repeated short, energetic strokes—not smooth, solid vector fills. Preserve paper texture, broken strokes, dents, rough edges, uneven tones, and small local white gaps. Let contours wobble and remain incomplete or imprecise so the result feels genuinely handmade. Emphasize recognizable features with sudden white cutouts in the black silhouette—for example around a face, eyes, windows, vessel openings, an animal’s muzzle, or a distinctive part of an object. Finish expressions and details with only a few black dots, short lines, or symbols. Avoid realistic facial features or precise structure; use bold, direct black-and-white relationships to make the subject recognizable.

Keep large areas of clean white space and one main visual connection. The subject may float near the center, sit slightly off-center, be partially cropped, or touch the lower edge. Use at most one rough ground-friction line, a few short marks, or minimal environmental symbols to suggest space. Reduce grass, rain, smoke, tables, shadows, roads, wind, and other surroundings to sparse wax marks, leaving the background quiet and empty. Avoid complicated scenes; let one pose, action, distance, or relationship carry the story.

**Typography and mood**
Balance restrained high-end editorial design with the simplicity of a children’s book, using small-scale typography. Do not merely name the place or object: derive a short English headline from the photo’s emotion, action, relationships, time, or small story. Add a number, fitting quotation, chapter number, or one very brief hint-like sentence. Typography may be small and restrained, with minimal awkward handwritten or wax-like lettering, or slightly irregular letterforms that feel native to the illustration.

Make the text interact cleverly with the image: place it along the ground line, align it with the subject’s direction of movement, tuck it into white space, let it slightly overlap an outline, position it in the negative space between subjects, or connect a number to the subject with a fine line. Limit the text to one short headline and one or two groups of very tiny supporting text. Make it part of the composition’s rhythm, not a conventional poster title.

Aim for rough black, clean white, simple forms, and tactile texture. Balance childlike warmth, quietness, humor, and loneliness, like an old black-and-white children’s book reissued by a high-end design studio. Avoid smooth digital outlines, precise lines, realistic shading, heavy solid fills, 3D effects, color, broad gray washes, sticker-like shapes, and generic commercial illustration.