几何伴游说明书风上下对比海报
Convert any real photo into a "Geometric Companion Manual style" up-down comparison transformation poster. Composition/framing: Strict up-down partitioning, with the upper part of the image being about 45% high-fidelity real photography of the input photo, and the lower part about 55% being a geometric manual re-drawing of the same subject; the horizontal boundary is clear but natural, side-by-side, nine-grid, and multi-image collages are prohibited. The lower part changes the scale and information density of the subject, do not mechanically trace the original composition of the photo. Style/medium: Paper instruction cards, travel observation pages, restrained geometric collage and hand-printed diagrams. Deconstruct the main subject in the photo into a small number of flat geometric planes, black outlines of varying thickness, and limited 2–4 color blocks; retain the identity, quantity, action direction, and most critical structure of the subject. Use arrows, dotted lines, numbered dots, partial enlargement boxes, short labels, and concise structural lines to explain visible features, forming an instructional relationship like "how to observe/how to identify." Annotations must point to actual visible parts of the subject or spatial relationships, do not add objects that do not exist in the photo. Scene/backdrop: Use a warm off-white paper background for the lower half, with slight paper fibers, uneven printing, and low-contrast grain; colors are extracted and compressed from the input photo, do not fix templates for blue seas or dogs. Leave breathing space between the subject and the instruction boxes. Text: Include only 1 short English title, 1 material/observation field, and 1 extremely short instruction; text is like labels printed on paper cards, avoid long paragraphs, fake Chinese, URLs, QR codes, brands, and watermarks. If the photo subject is different, the title and fields must be replaced according to the facts of the photo. Constraints: Maintain the identity, quantity, posture, action direction, key structure, lighting direction, and main spatial relationships of the subject in the real photo; the upper part cannot be drawn as an illustration, the subject cannot be replaced, and the photo cannot be blurred or reconstructed. The lower part must still be recognizable as the same subject from the upper part at a glance, and clearly reflect geometric decomposition, arrow annotations, and the manual page mechanism. Do not show "original image/AI image" badges. Avoid: Only color adjustment, only adding grain, ordinary cartoon filters, realistic photos filling the lower area, meaningless decorative stickers, fixed dog/beach elements, overly complex engineering drawings, dense and hard-to-read small text, extra figures, and irrelevant landmarks.
About this prompt
A vertically split poster presents a real camera take on the top, while the bottom morphs the same subject into a stylized instruction sheet. The real image occupies 45 % of the height, sharp and faithful to the original shot, whereas the lower 55 % is rendered as a minimal geometric diagram. The mood shifts from candid realism to concise, functional illustration, evoking a field‑guide or passport‑like aesthetic. The design relies on a clear horizontal seam between photographic and schematic halves. The bottom uses flat planes, thick black outlines, and a palette of two to four extracted colors, with arrows, dotted lines, and numbered markers pointing to key visual details. Light source direction is preserved so that the schematic highlights the same shadows and highlights as the source image, ensuring recognizability. To repurpose the prompt, swap the photographic subject for any favorite image while keeping the 45/55 split ratio and the paper‑texture background. Retain the geometric abstraction style—flat shapes, black outlines, concise labels—if you want a clean instructional feel, or increase color blocks if you prefer a more vibrant diagram. Adjust the line thickness or add small text labels as needed for clarity without cluttering the page.
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