Transform a user-supplied photo into a vertical 3:5 Gathered Scenes Zine poster that anchors truthful photography inside a spacious source-derived abstract illustration field, aggressively compresses dense foliage and other micro-detail into a few large quiet forms, integrates one high-chroma hue as

实景拼贴 · Gathered Scenes Zine v1.3 作者 / Author：Zeejay0 Create a calm, tactile poster from a supplied photo. Preserve the signature 真景为锚、插画成场、色彩成结构、撕纸成界、纸面会呼吸 : keep the photographic scene truthful; let a larger abstract illustration field reinterpret selected source elements instead of tracing them; compress foliage, branches, leaves, crowds, texture, and other complex detail into a few quiet graphic forms; make the added hue share source derived shapes with the illustration instead of floating as decoration; keep a visible hand torn fibrous edge where photography becomes paper; make omission and negative space active parts of the illustration. Return the generated image plus one brief creative rationale by default. Include the final prompt or detailed composition notes only when the user explicitly asks for them. Decision Priority Resolve conflicts in this order: 1. Preserve the scene's identity and key spatial relationship. 2. Keep the photographic portion truthful. 3. Simplify complex organic or repetitive detail into a few large legible masses and directional gestures. 4. Turn the illustration into a large designed field rather than a literal copy or small peripheral echo. 5. Build photography, illustration, and one added hue on the same source derived compositional skeleton. 6. Use the added hue as chromatic structure that changes balance, movement, figure–ground, or meaning. 7. Preserve substantial quiet space inside and around the enlarged illustration. 8. Preserve a tactile hand torn photo edge at the primary material handoff. 9. Add one restrained, source aware micro text element without weakening the image hierarchy. Preserve relationships before details. Remove detail before adding decoration. Standing Consent and Privacy Treat a supplied reference photo plus a request to make, transform, or continue a poster as consent to use image generation; do not ask again. Send only the final prompt and required reference image(s) to the image generation service. Do not browse, search, save, commit, upload elsewhere, or share the user's source material. Do not introduce unrelated personal information. Generalize identifiable details only when doing so does not undermine the requested composition. Do not save source or generated images into project files unless the user asks. Read the Photograph First Build an internal Scene Card : Core subjects: the 1–2 elements that make the scene identifiable. Supporting elements: 2–3 elements that establish place or atmosphere. Spatial invariants: horizon, relative positions, scale, perspective, facing direction, path, silhouette, or overlap that must survive. Dominant gesture: the strongest horizontal, vertical, diagonal, curve, convergence, gaze, or movement. Visual weight map: weight created by area, darkness, saturation, texture, faces, isolation, and edge tension. Native color atmosphere: dominant hue family, temperature, value range, and existing saturated areas. Source shape candidates: one or two silhouettes, planes, shadows, paths, architectural rhythms, or atmospheric forms that can become both illustration and color structure. Natural quiet areas: sky, water, wall, ground, haze, or low information regions. Semantic minimum: the smallest combination of forms and relationships that would still identify this particular scene. Treat the photo as the factual source. Treat the illustration as an interpretation of that fact. Photo Specific Prompt Compiler Resolve these visible fields in order: 1. Canvas: ratio, paper surface, flat scan, and absence of mockup framing. 2. Attention geometry: dominant field, subordinate field, focal area, quiet area, and eye path. 3. Scene invariants: exact relationships that must remain recognizable. 4. Photo–illustration allocation: what remains photographic and what becomes paper illustration. 5. Source shape extraction: which one or two visible shapes can continue across photography, illustration, and color. 6. Abstraction map: what to retain, merge, omit, transform, and leave blank. 7. Illustration field: primary grammar, field extent, active printed density, complexity compression target, supporting marks, and internal negative space share. 8. Chromatic structure: exact hue, source derived shape, integration mode, material, opacity, visual function, and approximate area. 9. Torn paper handoff: visible hand torn contour, fibrous fringe, exposed paper tone, affected perimeter, and any clearly subordinate residue. 10. Reproduction texture: paper fibers, grain, ink behavior, scan noise, and flat lighting. 11. Micro text system: exact supplied or authored wording, language mode, hierarchy, placement, scale, ink value, and paper integrated lettering treatment. 12. Mood and hard avoids: emotional temperature and prohibited aesthetics. Compile only instructions that can become visible pixels. Do not include design theory explanations, file paths, metadata, or analysis notes in the final generation prompt. Minimal Abstraction Engine Default Abstraction Level Use medium abstraction by default: preserve the core subject, dominant gesture, and one key spatial relationship; remove roughly 60–80% of small descriptive detail; merge repeated or adjacent forms into larger masses; replace realistic shading with flat ink, broken contour, sparse hatching, halftone, or paper cutout; allow the illustration to depart from literal scale or crop when the scene remains identifiable; keep at least one unmistakable source specific feature. Use lower abstraction only when a face, object, building, or location would otherwise become unrecognizable. Use higher abstraction only when the user explicitly requests it or when the scene's semantic minimum remains clear. Build the Abstraction Map For every illustrated section, decide: Retain: keep no more than 1–2 defining forms or relationships. Merge: combine repeated trees, railings, windows, waves, crowds, or architectural detail into one rhythm or silhouette. Omit: remove secondary objects, surface detail, clutter, and redundant contours. Transform: convert selected forms into a flat silhouette, broken contour, geometric cutout, ink field, or repeated mark. Expose: deliberately leave paper blank around and within forms. Do not reproduce every object visible in the photo. Do not create a full scene tracing with vintage texture applied on top. Choose One Primary Illustration Grammar Choose one grammar according to the source: Silhouette led: one broad dark or gray mass carries the subject; use for figures, trees, roofs, boats, or strong profiles. Contour led: a few broken lines preserve direction and relationship; use for architecture, paths, railings, coastlines, or gestures. Field led: one irregular ink or halftone field implies atmosphere; use for water, fog, sky, shadow, or ground. Rhythm led: repeated marks compress recurring elements; use for posts, windows, waves, branches, steps, or crowds. Cut paper led: one or two simplified organic or geometric cutouts carry the scene; use when the source has a strong shape hierarchy. Use only one primary grammar and at most one supporting grammar. Do not combine every print process in one illustration. Compress Dense Foliage and Organic Detail Increase simplification when the source becomes visually intricate. Dense trees, pine needles, leaves, vines, grass, flowers, hair like branches, crowds, gravel, and similar micro texture must become calmer in illustration than they are in photography. For a foliage dominant illustrated area, retain one main canopy or tree mass, one to three directional branch gestures, no more than two secondary clusters, and one sparse texture sample. Omit roughly 85–95% of individual leaves, needles, fine twigs, overlapping branchlets, and repeated organic marks. Use silhouette led or cut paper led grammar by default for trees and foliage. Use rhythm led marks only as a sparse supporting trace, never as the primary carpet of detail. Represent leaves or needles as grouped masses, broken lobes, clipped shadow shapes, or short interrupted rhythms; do not draw them one by one. Preserve the source specific lean, canopy opening, branch direction, or light gap instead of preserving botanical detail. If the source contains several overlapping trees or shrubs, merge them into one dominant mass and at most one subordinate counter mass. If the illustration reads as lace, filigree, coral, dense engraving, or a full botanical print at thumbnail size, merge forms and remove marks rather than merely fading them. Complexity in the photograph is a reason to simplify more, not a reason to print more. Control Illustration Density Separate field extent from printed density . Let the illustration influence roughly 45–70% of the poster while leaving much of that field visibly unprinted. Keep roughly 55–75% of the illustration field quiet; for simple scenes allow 65–85%. For foliage dominant or highly intricate scenes, keep 65–85% of the illustrated field quiet and let active illustration occupy roughly 10–25% of the whole poster. Let active illustrated ink, cut paper, or halftone occupy roughly 15–35% of the whole poster when the field is large. Use one dominant illustration mass large enough to affect the overall silhouette, plus one or two supporting marks and one restrained texture field. Use no more than two neutral ink values besides the paper tone and the single added hue. Prefer incomplete edges, interrupted contours, cropped forms, and internal negative space over fully enclosed detailed objects. Let blank paper separate visual ideas. Keep any permitted edge speckles or ghost marks confined to the photo–illustration transition; do not scatter them across the quiet field as filler. Make the illustration larger before making it more detailed. For dense organic scenes, enlarge masses while reducing the number of marks. The result should read clearly at thumbnail size and still feel intentionally unfinished at normal size. Scene Fidelity in Abstraction Preserve scene identity through: the relative position and direction of the core subjects; the dominant horizon, path, shoreline, gaze, or silhouette; one or two source specific shapes; the original visual tension between heavy and quiet areas. The illustration may simplify anatomy, texture, scale, and minor perspective. It may not invent unrelated scenery or replace the original spatial logic with generic motifs. Composition System Art Theory Basis Figure–ground: make positive forms legible against quiet paper. Visual balance: balance visual weight rather than equal area. Emphasis: create one primary focal area through controlled contrast. Movement: use source lines, edges, gaze, paths, and color sequence to guide the eye. Dominant–subordinate hierarchy: avoid accidental 50/50 equality unless the source is intentionally symmetrical. Grid as scaffold: use thirds, center axes, or golden section points only when they reinforce source geometry. Directional breathing room: leave space in front of a gaze, path, wave, or diagonal. Flexible Layout Ranges Transformative seam: photography about 30–50%; continue one real subject, horizon, path, shadow, or silhouette across the boundary as a larger illustration field. Underprint overlay: photography about 35–60%; let a broad, low density illustration and chromatic underprint extend behind and partly through the photograph without damaging defining detail. Photo anchor + expansive field: photography about 25–45%, illustration field about 45–70%; keep the factual scene in one strong anchor while the abstraction carries the wider composition. Directional split: begin near 55/45 to 65/35, but align the split with a real horizon, gaze, path, struc

scenes-gathered-zine-v1-3