Paper Window Coastal Memory Travel Poster

Please make each travel photo I upload into a separate, premium contrast poster titled “PAPER WINDOW COASTAL MEMORY｜纸窗海岸记忆”. Output each photo individually; do not create multi-image collages.

Overall, use a 3:4 vertical composition. The original photo occupies about 48%–50% of the frame, and the lower paper-window memory area occupies about 50%–52%. Use a clear, straight, restrained horizontal boundary between the two areas; no gradients, feathering or overlapping.

The upper half must use the original photo itself, accurately preserving the subject's identity and number, people's or animals' poses, boat directions, building outlines, mountains and coastlines, spatial relationships, viewing angle, natural materials, real light and shadow, and original color mood.

Only apply slight travel-publication-grade color grading and extremely thin film grain. To fit the vertical format, you may reasonably crop or naturally extend the sky, water, ground and subject-free environment, but you must not stretch, distort, move, replace or redraw the subject, and must not pass off an AI-rebuilt look-alike as the original photo.

The lower half uses a large area of warm off-white, coarse-textured watercolor paper as the complete background, retaining clearly visible cotton fibers, paper tooth and slight natural color variation.

The large blank area in the lower half is a main part of the composition; do not fill the paper with maps, stamps, shells, tape or decorative journal materials.

In the lower half, slightly left of or near the center, place a small, vertical or near-vertical hand-drawn paper sketch with naturally torn edges.

The small sketch usually occupies only about 38%–45% of the lower-half width and about 45%–58% of its height, and must keep at least 45%–60% of continuous, quiet, undrawn coarse-paper margin around it.

The torn edges show real cotton fibers and slight physical thickness, using only soft, restrained contact shadows. Do not make it look like thick cardboard, a three-dimensional frame, an instant photo or a floating card.

Inside the small sketch, extract only one core travel anchor from the photo that is most worth remembering, such as a boat, a windmill, a set of domes, a lighthouse, a pier, a seaside building or a pedestrian.

Pair it with two to four necessary environmental clues, such as a short stretch of shoreline, a strip of water, a few masts, a mountain ridge, a few roofs or plants. Actively remove crowds, repeated boats, dense buildings, signs, window panes, clutter and photographic noise.

Do not shrink the entire photo into the paper window, and do not carry over the original's full crop, subject proportions or information density.

Readjust the subject scale, secondary element positions and paper-white proportion so that the core object feels like a single separately saved observation, not a colored-pencil copy of the photo. Inside the small sketch, keep clearly uncolored areas, and let the strokes naturally stop before the torn edge.

The drawing medium should mainly be hesitant, fine, slightly imperfect graphite pencil lines, combined with dry colored pencil, pale watercolor pencil, local paper-surface scratches and broken strokes.

The palette is entirely extracted from the original photo and reduced to a limited color set, such as the grey-blue of sea and sky, teal-green, the warm stone and ochre of buildings and land, the grey-green of plants, and one very small signature color from the original photo.

Colors stay soft and faded, with a slightly old travel-sketch feel; do not fill the whole sketch with highly saturated color.

Add to the edge of the small sketch one extremely thin, slightly faded red or warm-colored pencil vertical line, and a small piece of grey-blue, teal or warm-grey paper scrap extracted from the photo's colors.

These elements are only for establishing paper-based editorial rhythm; they must not become a fixed brand mark, nor obscure the subject.

By default, the lower half includes a small set of accurate, clearly legible English text, placed in the continuous blank space on the right of or near the small sketch. The text includes:

1. A scene or imagery title made of 1–3 English words;
2. A field such as “COASTAL NOTE 01” or “TRAVEL NOTE 01”;
3. A short observation sentence of 5–12 English words, describing the real weather, action, architecture, boats, sea water or spatial relationships present in the photo.

The text uses restrained typewriter serif, old metal type or thin literary bookish typefaces, with slightly wide letter and line spacing; edges may show slight ink gaps and uneven pressure, as if printed directly onto coarse paper.

The main title must be clearly legible at normal chat-preview size; it must not shrink into a grey decorative line. Do not invent cities, dates, coordinates, quotations or historical information.

The overall mood is quiet and gentle, with real paper texture and a sense of looking back after the journey. The upper half keeps the light and sounds of the trip as it happens; the lower half is like picking one object from memory and redrawing it on a small piece of paper slipped into a book.

Avoid:
redrawing the full scene in the lower half;
material replacement at the same crop and scale;
full-sheet watercolor background;
oversized hand-drawn sketch;
multiple torn-paper cards;
dense journal collage;
smooth vector line art;
children's cartoon;
commercial travel icons;
piles of maps, stamps, shells and tape;
heavy drop shadows;
plastic 3D;
fake Chinese or gibberish text;
author names, signatures, logos, QR codes, URLs and watermarks.

请将我上传的每一张旅行照片分别制作成一张独立的
“PAPER WINDOW COASTAL MEMORY｜纸窗海岸记忆”
高级对比海报。每张照片单独输出，不得多图拼贴。

整体采用3:4竖版构图。上方原始照片约占画面48%–50%，
下方纸窗记忆区约占50%–52%。两个区域之间使用清楚、
平直、克制的水平边界，不得渐变、羽化或互相覆盖。

上半部分必须使用原始照片本身，准确保持主体身份、数量、
人物或动物姿态、船只方向、建筑轮廓、山体与海岸线、
空间关系、观察角度、自然材质、真实光影和原有色彩氛围。

仅进行轻微的旅行艺术出版物级调色与极薄胶片颗粒。
为适配竖版，可以合理裁切或自然扩展天空、水面、地面与
无主体环境，但不得拉伸、扭曲、移动、替换或重新绘制主体，
不得使用AI重建的相似照片冒充原图。

下半部分使用大面积温暖米白色粗纹水彩纸作为完整背景，
保留清楚可见的棉纸纤维、纸齿与轻微自然色差。

下半部分的大面积空白是构图的主要组成，不要使用地图、
邮票、贝壳、胶带或装饰性手账素材填满纸面。

在下半部分偏左或略偏中心的位置，放置一张小型、竖向或
接近竖向的自然撕边手绘纸稿。

小纸稿通常只占下半部分宽度约38%–45%、高度约45%–58%，
四周必须保留至少45%–60%连续、安静、未经绘制的粗纸留白。

撕边具有真实棉纸纤维和轻微物理厚度，只使用柔和、克制的
接触阴影。不得将它做成厚纸板、立体相框、拍立得照片或
悬浮卡片。

小纸稿内部只提取照片中最值得记住的一个核心旅行锚点，
例如一艘船、一座风车、一组穹顶、一个灯塔、一段码头、
一座海边建筑或一位行人。

搭配两至四条必要的环境线索，例如一小段岸线、一条水面、
几根桅杆、一道山脊、少量屋顶或植物。主动删除人群、
重复船只、密集建筑、招牌、窗格、杂物和摄影噪声。

不要把整张照片缩小后完整画进纸窗，也不要沿用原图的完整
裁切、主体比例和信息密度。

重新调整主体尺度、次要元素位置与纸白比例，使核心物件像
一次被单独保存的观察，而不是照片的彩铅复制品。小稿内部
同样保留明显未上色区域，笔触在接近撕边前自然停止。

绘画媒介以迟疑、纤细、略带手工误差的石墨铅笔线为主，
结合干涩彩铅、浅淡水彩铅、局部纸面擦痕与断裂笔触。

配色完全从原始照片提取并归纳为有限色盘，例如海水与天空
的灰蓝、青绿，建筑与土地的暖石色、赭色，植物的灰绿色，
以及一处很小的原图特征色。

颜色保持柔和、褪淡、略带旧旅行速写感，不能使用高饱和
颜色铺满整张纸稿。

在小纸稿边缘加入一根极细、略褪色的红色或暖色铅笔竖线，
以及一小块从照片色彩中提取的灰蓝、青绿或暖灰色纸片。

这些元素只用于建立纸本编辑节奏，不得变成固定品牌标识，
也不得遮挡主体。

下半部分默认加入一组少量、准确且清晰可读的英文文字，
放置在小纸稿右侧或附近的连续留白中。文字包括：

1. 一个由1–3个英文单词构成的场景或意象标题；
2. 一个类似“COASTAL NOTE 01”或“TRAVEL NOTE 01”的字段；
3. 一句5–12个英文单词的简短观察句，描述照片中真实存在的
   天气、动作、建筑、船只、海水或空间关系。

文字使用克制的打字机衬线体、旧铅字或细瘦书卷感字体，
字距与行距稍宽，边缘允许轻微缺墨和不均匀压力，像直接
印在粗纸上。

主标题在正常聊天预览尺寸下必须清楚辨认，不能缩成灰色
装饰线。不得自行编造城市、日期、坐标、引用或历史信息。

整体气质安静、温和，具有真实纸张触感和旅行后的回望感。
上半部分保留旅途正在发生时的光线与声音；下半部分则像从
记忆里挑出一个物件，重新画在一张被夹进书中的小纸片上。

避免：
下半部分完整复画原景；
相同裁切、相同尺度的材质替换；
整面水彩背景；
巨大手绘稿；
多个撕纸卡片；
密集手账拼贴；
光滑矢量线稿；
儿童卡通；
商业旅游图标；
地图、邮票、贝壳和胶带堆积；
厚重投影；
塑料3D；
假中文、乱码；
作者名、签名、Logo、二维码、网址和水印。