Photo to vintage crayon graffiti editorial poster

Please make each photo I upload into an independent high-end design poster, no multi-image stitching, each photo output individually. The overall layout uses a 3:4 vertical composition, with the top and bottom areas strictly 1:1 in height, each occupying 50% of the screen.

The upper part retains the original photo, maintaining the subject's identity, structure, posture, real texture, natural light and shadow, and original color atmosphere, with only slight high-end color grading to give it the texture of an art magazine, independent publication, or exhibition image. To adapt to the frame, the environmental background can be naturally extended, but the subject must not be stretched, distorted, or changed.

The lower part first understands the core theme, subject relationship, structural trend, emotion, and visual metaphor of the original photo most worth remembering, and then reconstructs it into a pastel crayon graffiti illustration with vintage paper texture. Do not copy the photo item by item, nor completely redraw all content; only retain the contours, postures, directions, and visual memory points that best represent the original object. Through deletion, generalization, slight exaggeration, and recombination, make people feel the correspondence between it and the photo above at a glance.

The subject uses thick-grained chalk / crayon-style hand-drawn outlines: the lines are slightly thick, loose, dry, with powder particles, intermittent color fading, slight shaking, and incompletely closed edges, with naturally blunt and rounded ends. Only a very small amount of pastel color blocks, simple grids, stripes, dots, or casual smears are added inside the subject, using minimal information to suggest structure, without realistic volume or complete details.

Surrounding small elements use the same line language as the subject, but are further compressed into graffiti symbols identifiable in one or a few strokes. Stars, flowers, plants, objects, environmental clues, or abstract symbols should all be simple, naive, open, and incompletely closed, mainly single-line outlines with very little filling. Do not draw them as exquisite icons, stickers, or independent small illustrations.

Composition maintains the relationship between small-scale stamps and large areas of white space, freely arranging positions according to the subject's own direction, proportion, and visual center of gravity, which can be eccentric, edge-aligned, suspended, or partially cropped. The subject and a very small number of graffiti symbols form a loose but clear visual community, with the remaining space actively left blank. White space itself is the main compositional element, forming a sense of breathing, distance, and pause through the relationship between empty and solid, gathered and scattered, size contrast, and asymmetry; would rather draw less than fill it up.

The background must use an extremely light, bright, and clean paper base color, such as cream white, ivory white, light beige white, pale apricot white, extremely light grey-white, or a near-white paper color intelligently matched according to the overall color temperature of the original image. The paper only retains very slight fibers and particles, and must not be brownish, yellowish, grayish, or appear old. The background brightness must be significantly higher than the subject lines and color blocks to ensure all crayon outlines, small symbols, and text are clearly visible and do not blur with the background.

The color scheme extracts 2–4 of the most vivid, friendly, and representative colors from the photo above to be reformulated into bright and soft pastel crayon colors. This can naturally form lightweight colors like peach pink, apricot orange, cream yellow, mint green, sky blue, light purple, etc.; the subject lines prioritize using coral pink, soft blue, cyan-green, warm orange, light purple, or deep cream tones that are clearer than the background, and small elements only sporadically repeat these colors to form an echo. The overall maintain the contrast relationship of light background + clear colored lines + a small amount of soft color blocks, being bright, healing, relaxed, and having a sense of life. Avoid dark, dirty brown, dull Morandi-style, low contrast, fluorescent colors, and cheap candy feel.

Text intervenes in small amounts, with no language restriction. Short sentences or text fragments can be freely extracted from the subject, action, emotion, memory, or metaphor, using thin, sparse typewriter fonts with slight irregular character spacing and old mechanical printing errors, with colors using clear but not eye-catching grey-brown, soft black, deep blue-grey, or dark colors that echo the subject, ensuring sufficient readability on the light paper surface. The text naturally scatters in the white space area, forming a mixed text-image layout with the subject and graffiti, without fixed title templates.

The overall presentation is a high-end healing visual composed of an extremely light paper surface, thick-grained crayon outlines, a small amount of pastel filling, minimalist graffiti symbols, a small-scale subject, and a large amount of artistic white space. The focus is to let the subject and small elements float clearly on the light-colored paper surface, while maintaining a loose, naive, gentle, and mature editorial composition sense. Avoid dark kraft paper, dark brown backgrounds, low-contrast lines, backgrounds and subjects blurring together, fine strokes, realistic redrawing, complex small icons, filled backgrounds, smooth vectors, 3D feels, and commercial template feels.