双层构图画册风海报设计

Please turn each photo I upload into a separate premium-designed poster, with no multi-image collage; output each photo as an independent poster. Use an overall 3:4 vertical composition, strictly divided into two equal-height sections, with the upper and lower halves each occupying exactly 50% of the canvas. The upper half should preserve the original photograph, maintaining the subject's structure, realistic texture, natural lighting and shadows, and original color atmosphere, with only subtle high-end photographic color grading to give it the quality of an art publication or exhibition photograph. To adapt the image to the required aspect ratio, you may naturally extend the sky, ground, or environmental background, but you must not stretch, distort, or alter the main subject. The lower half should extract the most recognizable subject, silhouette, posture, and narrative relationship from the photograph; first understand its core meaning, cultural attributes, or emotional relationship, then reconstruct it into a graphic composition combining the character of a folk-culture catalog, antique rubbing prints, and modern graphic design. Do not translate every element in the photograph one by one, and do not add generic traditional patterns; retain only one core visual motif and a very small number of auxiliary forms that truly carry narrative significance. Use silhouette, negative space, partial enlargement, shape merging, and symbolic transformation so that the graphic not only corresponds to the original object but also expresses the meaning behind it. Build the composition on a rigorous geometric framework and proportional system: derive circles, squares, triangles, arcs, axes, or repeated proportions from the structure of the subject itself as the "geometric matrix," then align all main forms, secondary graphics, typography, and negative space through shared tangencies, common axes, nesting, mirroring, proportional progression, or edge cropping relationships. The layout may be freely distributed, off-center, extend beyond boundaries, or be asymmetrical, but every element must obey the same structural logic, creating a clear visual center of gravity, hierarchy, rhythm, and negative space; from a distance the order should be immediately legible, while closer viewing should reveal traditional print traces and subtle details. Avoid random scattered elements and decorative accumulation. Extract the most distinctive, lively, and spiritually expressive colors from the upper photograph and reorganize them into a clean, restrained paper-printing palette. Use a bright, light paper-colored background to create breathing room, one dark color to establish the visual skeleton, and one or two theme colors derived from the original photograph to organize the main subject and limited accents. Build depth through area ratios, overprinting, and tonal contrast. Colors should feel clean, vivid, and spirited; avoid muddy artificial aging, fixed stereotypical folk palettes, or chaotic multicolor combinations. Use a hybrid material texture combining woodblock rubbing, dry-brush screen printing, and vintage catalog printing. Broken ink, abrasion marks, exposed paper, and uneven ink density should mainly appear inside the graphic forms, while geometric boundaries, important contours, and the overall layout should remain crisp and precise, creating a contrast between "rough material texture × rigorous geometric order." Typography should function only as supporting compositional information. Extract a small amount of title text and micro-annotations from the photograph's theme, meaning, or cultural attributes, and allow them to follow geometric axes, negative space, or graphic boundaries in flexible arrangements, aligning, nesting, or interweaving with the main forms without competing for the visual center. The overall visual character should prioritize meaning, restrained graphics, rigorous geometry, rough rubbing textures, clear negative space, and the coexistence of traditional cultural sensibility with modern design order. Every graphic element that appears must have a source, a meaning, and a structural function; remove anything that does not strengthen understanding of the theme, and avoid collage-like material assembly, arbitrary insertion of traditional symbols, evenly distributed layouts, realistic illustration, and template-like design.