# Photo Abstract Editorial Prompt (English)

Treat the uploaded image strictly as the sole source of content and as the original photograph. Create one complete editorial artwork composed of an **original-photo area + abstract memory panel + poetic title**. Do not create an abstract painting by itself and do not simply apply a filter to the photo.

## 1. Roles of the input image

The uploaded image is the sole content source and serves two roles:

1. **Original photograph in the photographic area.** Faithfully present the photograph in the upper or principal region of the finished work. Preserve its subjects, architecture, people, light, colors, spatial relationships, and photographic character. Permit only restrained proportional scaling or a slight crop needed to fit the join. Do not redraw, replace, extend, retouch, embellish, or otherwise change the photo's content.
2. **Information source for the abstract panel.** Analyze the photo's subject relationships; relative scale; left/right and upper/lower positions; directions; curves; horizontal and vertical axes; spacing; repetition; occlusion; foreground/background hierarchy; tonal hierarchy; color roles; and negative space. Reconstruct these relationships as an abstract visual memory below the photo.

Do not introduce any other image, scene, object, color, or symbol.

## 2. Working method

Use this sequence:

**DECONSTRUCT → SELECTIVE PRESERVATION → ABSTRACT / DISTILL → RECONSTRUCT**

This is neither style transfer nor photo vectorization. Complete the following judgments internally without outputting analysis text:

1. Identify the three to six most important spatial facts in the photo.
2. Determine which information comes from subject mass and which comes from structural axes, movement direction, repeated rhythm, intervals, occlusion, asymmetry, color hierarchy, or negative space.
3. Remove surface textures, perspective detail, background noise, and low-information ornament.
4. Reorganize the retained relationships with the fewest possible marks.
5. Make the abstraction read first as a minimal abstract composition and only on second glance evoke this particular photo.

The result must answer the photo's unique spatial rhythm, but it must not become a thumbnail, tracing, posterized photograph, filter effect, complete illustration, or generic icon.

## 3. Degree of abstraction and subject recognition

Default to **relationships first, contours discarded**, adapting to the subject:

- **Ordinary scenes, natural landscapes, light, horizons, water, and crowds:** retain direction, density, intervals, hierarchy, movement, and color relationships; do not retain complete object outlines.
- **Landmark architecture or a subject with a distinctive form:** retain only one to three minimum identity cues, such as a distinctive outer contour, a representative negative space, an eave line, tapering tower mass, arch, spire, or layered rhythm. Do not depict windows, masonry, brackets, carvings, rail patterns, or other detail.
- **Organic groups, such as balloons, tree canopies, cloud clusters, or lights:** use overlapping soft organic color masses to express density and rising, dispersing, or gathering relationships. Do not draw interior patterns or realistic highlights.
- **Crowds:** render each person as one continuous, irregular short vertical ink mark or lightly tapered color block. Join head, shoulders, and body as one form; never draw separate circular heads, limbs, faces, or clothing. Create rhythm through height, width, intervals, tilt, and front-to-back overlap.
- **Railings, roads, horizons, and shores:** compress into one or two fine horizontal axes with a few irregular interruptions.
- **Small representative objects, such as bells, lanterns, or wind chimes:** keep only two or three planar marks. Establish recognition through scale and position, without metallic highlights, real volume, internal structure, or realistic material.

Preserve the **minimum necessary recognizability** rather than replicating objects.

## 4. Mark system

Use one primary mark family and at most two supporting mark families.

Choose one primary family:

- Flat or slightly organic color blocks
- Soft circles or irregular masses
- Arcing or tapered strokes
- Continuous short bars or stacked color bands
- Simplified architectural masses

Choose no more than two supporting families:

- Fine lines or structural axes
- Short vertical bars, isolated dots, or tiny contours
- Restrained human ink marks
- A small amount of repeated rhythm

Every mark must correspond to a fact in the source photo. Do not add decorative elements, symmetry, patterns, colors, or objects merely to make the design attractive.

Avoid regularized spacing. Let adjacent marks vary slightly in scale and position, with pauses that create an observed natural rhythm rather than an infographic or vector icon.

## 5. Adaptive joining of photo and abstract panel

Create one complete vertical editorial work with a photographic area above and an ivory abstract panel below.

Do not mechanically make the two sections equal in height. Adapt the proportion to the source image's orientation, subject density, visual center of gravity, and negative space:

- **Landscape images or images with strong horizontal spread:** photo area about 38%–52% of the final height; abstract panel about 48%–62%.
- **Vertical architecture, people, or tall subjects:** photo area about 55%–68%; abstract panel about 32%–45%.
- **Near-square images or images with a balanced visual center:** photo area about 48%–58%; abstract panel about 42%–52%.

Allow these proportions to shift by about 8% when needed; overall harmony takes precedence. Preserve the photograph's aspect ratio and prioritize a complete subject. Never crop aggressively to force a ratio. Let the final canvas ratio follow the source photo and panel height; do not force 1:1, 3:4, or equal halves.

Join the photo and panel directly and cleanly with no shadow. Do not use torn-paper edges, frames, drop shadows, dimensional cards, tape, collage shadows, or mockup effects.

## 6. Abstract panel layout

Use a completely even, continuous, unbroken neutral ivory background for the panel:

**#F3F0E8**, or a harmonious color from the same family.

Place the abstract motif in the lower-middle of the panel, near the center, or at an asymmetrical position supported by relationships in the original photo.

Default scale:

- Motif width: about 30%–42% of panel width.
- Motif height: normally no more than 28%–34% of panel height.
- Keep about 65%–80% clean white space.

Adapt by subject type:

- Slender horizons, bridges, roads, or horizontal crowds may reach 45%–68% of the panel width while remaining low.
- Landmark high-rise buildings, towers, or vertical subjects may become taller but must not fill the panel.
- Compact organic groups must stay gathered rather than scattering across the panel.
- Do not shrink the motif into a generic small icon merely to satisfy a percentage.

Keep its internal scale relationships, directions, intervals, occlusion, repetition, center of gravity, and asymmetry as one whole.

## 7. Color system

Extract colors only from the original photograph, lowering saturation and reducing their number.

Use:

- One dominant color role
- One dark structural color role
- One light or neutral color role
- At most one or two small accent colors

Accent colors must be important colors that truly exist in the photo and may appear only in a few key marks. Do not introduce neon colors, unsupported complementary colors, or several competing accents.

## 8. Title naming

From the photo's subject, spatial relationships, time, light, movement, and mood, create one original English title internally.

The title must be faithful, clear, and elegant:

- **Faithful:** correspond to a real subject relationship or visual fact in the photo.
- **Clear:** concise, natural, and understandable; avoid literal or awkward translation.
- **Elegant:** poetic with resonance, without melodrama, opacity, or affected depth.

Prefer two to five English words. Choose one direction:

- Light or time entering a space
- A relationship or dialogue between two subjects
- A brief appearing, floating, receding, or pausing
- A metaphor distilled from the photo's colors, structural axes, or movement
- An original compound word plus a short qualifier

Avoid travel-promotion titles, place descriptions, photographic jargon, empty words such as “Memory,” “Dream,” or “Moment,” and grand narratives unrelated to photo facts.

Generate only one main title by default. Add a three-to-seven-word subtitle only if it adds a new layer of meaning rather than repeating the title. Render each title only once. Decide the final title internally, then render it accurately. Do not generate title options, explanatory copy, or any other text.

## 9. Title typography

Place the title only on the ivory abstract panel, below or beside the abstract motif. Select its exact position according to lateral whitespace and overall balance.

Adapt between these layouts:

1. **Lower-left aligned.** Use when the motif is centered toward the right, spreads horizontally, or the overall weight leans right. The title may be vertical or horizontal, with about 6%–9% safe distance from the left and lower edges.
2. **Bottom centered.** Use when the motif is essentially centered, the axis is clear, the architecture is symmetrical, or the image has a vertical echo. Align the title with the motif's central axis but do not place it too close to the motif.

Never place the title in the photo area, inside the motif, at the lower right, or on the canvas edge.

Typography rules:

- Use an elegant, restrained editorial serif for the English main title.
- Use a composed book serif for architectural, urban, or structural subjects.
- Use a fine humanist serif for light, nature, or lyrical subjects.
- If used, set the subtitle in a smaller elegant italic serif.
- Do not use commercial bold faces, sans-serif advertising faces, cartoon faces, exaggerated handwriting, or decorative fonts.

Select a dark, restrained subject color from the photo or motif—such as deep blue-gray, dark green, wine red, deep purple, or charcoal gray. Ensure legibility on the panel without defaulting to pure black. Use a lighter or less saturated color from the same family for a subtitle. The title color must relate to the photo's subject, not claim attention with the brightest accent.

## 10. CLEAN mode

The abstract-panel background must not contain gradients, lighting variation, shadows, glow, vignettes, bands, seams, paper texture, grain, noise, fibers, watercolor underpainting, fog, stains, fading, haze, scan marks, pasted textures, or compression artifacts.

Abstract marks may have slightly natural edges and handmade irregularity, but never rely on material noise to create atmosphere. Create atmosphere only with whitespace, distance, pauses, asymmetry, scale contrast, limited marks, and a restrained palette.

## 11. Output limits

Output only one finished work joining the photograph and abstract panel.

Apart from the final main title and optional subtitle, include absolutely no text, numbers, dates, serial numbers, location descriptions, color swatches, legends, signatures, logos, or watermarks.

Strictly avoid photo redrawing, scene reconstruction, generative outpainting, a filtered look, posterized photographs, vector tracing, complete illustration, regularized infographics, generic icons, dense decoration, fabricated content, fabricated symmetry, non-uniform backgrounds, realistic small objects, excessive architectural detail, neatly capsule-shaped people, title-option lists, and extra text.