原图与水墨重构的当代东方海报

画面为3:4竖构图，分为两个区域，严格遵循1:1比例，每个区域各占画面的50%。

上半区域——原片摄影区

保留主体的身份特征、结构、透视、真实的材质、自然光线与原始色彩氛围，仅做轻微的高端调色与画面净化，呈现出艺术杂志或展览摄影的质感。允许对背景进行适度扩展以适配画面尺寸，但不得拉伸、扭曲或重塑主体，不改变主体的结构、姿态与核心构图。

下半区域——极简水墨重构区

首先提炼主体最令人难忘的细节，如轮廓、结构、走势、透视、韵律与氛围，然后将同一场景重构为极简的水墨材质山水。不要照搬照片细节，不要做写实复刻，只保留最可辨识的结构与神韵，使人一眼就能认出上下两区域之间的对应关系。

下半部分的整体底色为乳白、暖白或宣纸白，带有细腻的纸纤维与自然肌理。主体以水墨晕染、干湿互现、飞白、渗化、积墨与留白来重构，形成安静、克制、富有诗意的东方视觉。去除次要细节，只保留最鲜明的轮廓、结构转折、空间层次与气口，不追求写实的完整，而是概括、提炼，留下余韵。墨色运用黑、灰与淡墨，层层递进，浓淡变化，节奏分明。

可从原图中提取最鲜明的色彩，做少量点染或着色，但不机械照搬色值。色彩可局部转化为清透的灰蓝、远山蓝、柔金、暖黄、朱红、浅青等，以突出主体焦点与情绪节奏，但整体构图仍以墨色与留白为主。避免沉闷、厚重、陈旧的棕色、过多装饰以及俗气的配色。

主体核心区域应更加精炼、集中，边缘逐渐放松、断开、消隐、散开，与大面积留白形成呼吸感。下半部分构图约占30%-45%，其余部分留给大面积留白。构图可偏置、取框、悬置或略微截切，但须保持不对称的平衡与高端编辑感。留白并非空白，而是视觉结构的重要组成部分。宁少勿多，不要填满整个画面，使主体如同印章或东方材质作品，展示在一页纸上。

文字处理

文字仅允许极少量的编辑性介入，不预设标题与数字。可从主体、地点、时间、动作、情绪或隐喻中提取少量词语或短句，安静地放置在留白处或主体边缘。文字应克制、稀疏、有呼吸感，不喧闹，不抢眼。

整体呈现

当代东方美学、极简水墨重构、大尺度的艺术留白、小尺度的印章钤记、安静的编辑式排版以及展览海报风格。避免复杂背景、堆叠的真实细节、过度装饰、过多文字、模板化排版和填满式构图。

The image is in a 3:4 vertical composition, divided into two regions, with a strict 1:1 ratio, each taking up 50% of the image.

Upper Region - Original Photo Shoot Area

Preserves the subject's identity, structure, perspective, and true material, natural light, and original color atmosphere, with only slight high-end color grading and image purification, presenting it with the texture of art magazines or exhibition photography. It allows for a moderate expansion of the background to fit the screen size, but does not stretch, distort, or reshape the subject, without changing the subject's structure, posture, and core composition.

Lower Region - Minimalist Ink Wash Reconstruction Area

First, refine the subject with the most memorable details, such as the outline, structure, trend, perspective, rhythm, and atmosphere, and then reconstruct the same scene into a minimalist ink wash material landscape. Do not copy the photo details, do not make a realistic copy, only preserve the most recognizable structure and charm, allowing people to recognize the corresponding relationship between the upper region and the original photo at first glance.

The overall base of the lower half is milky white, warm white or paper white, with delicate paper fiber and natural texture. The main body is reconstructed in ink wash blending, dry-wet interplay, flying white, seepage, ink accumulation, and white space, forming a quiet, restrained, and poetic Eastern visual. Removing secondary details, only retaining the most distinctive contours, structural turns, spatial layers, and breath, not pursuing realistic completeness, but rather summarizing, refining, and leaving a lingering impression. The use of ink in black, gray, and light ink tones, layered and progressing, with varying intensities and rhythms.

The most vibrant colors can be extracted from the original image to create a few spots of dyeing or coloring, without mechanically replicating the color values. The colors can be transformed locally into clear blue-gray, distant blue, soft gold, warm yellow, vermilion red, light cyan, etc., to emphasize the main focus and emotional rhythm, but the overall composition is still dominated by ink tones and negative space. Avoiding dull, heavy, old brown, excessive decoration, and vulgar color combinations.

The main core areas should be more refined and concentrated, with edges gradually loosening, breaking away, disappearing, and scattering, forming a sense of breathing with the large negative space. The lower half of the composition should account for about 30%-45%, with the rest reserved for large negative spaces. The composition can be biased, framed, suspended, or slightly cut, but must maintain an asymmetrical balance and a high-end editorial feel. Negative space is not blank, but an important component of the visual structure. It is better to reduce information than to fill the entire image, so that the main focus looks like an ink seal or an oriental material work displayed on a page.

Text Treatment

Text is only allowed a very small amount of editing intervention, without preset titles and numbers. A small number of words or short sentences can be extracted from the subject, location, time, action, emotion, or metaphor, and quietly placed in the blank area or the edge of the subject. The text should be restrained, sparse, and have a sense of breathing, not noisy or dominant.

Overall Presentation

Contemporary Eastern aesthetics, minimalist ink wash reconstruction, large-scale art blank, small-scale seal impression, quiet editing layout and exhibition poster style. Avoid complex backgrounds, piled-up real details, overly decorative, excessive text, template layout and filled composition