Botanical Found Material Poster

Botanical Found Material Poster

Use the system imagegen skill and image-generation tool. Treat every uploaded photograph as the edit source. Let recognizable natural materials carry the lower subject's form instead of hiding them beneath illustration.

Output contract

• Produce one independent raster poster for every uploaded photo. Never combine photos into a collage, contact sheet, comparison layout, diptych, or shared canvas.
• Use a 3:4 portrait canvas with one exact horizontal 50/50 division. Keep truthful photography in the upper half and the botanical found-material reconstruction in the lower half. Do not let either medium invade the other.
• Preserve immediate correspondence through the hero's silhouette, posture, direction, proportion, relationship, and defining local features.
• Keep each leaf, petal, twig, seed, fruit, grass, bark fragment, or dried leaf visibly real and materially distinct.
• Render visible title and annotations in English unless the user explicitly requests another language.
• Return every poster as a separate image. Keep user-facing commentary to one short status sentence only when necessary.

Preserve the photographic upper half

Keep the source recognizably photographic. Preserve subject identity and count, anatomy or construction, proportions, pose, silhouette, direction, spatial relationships, real materials, natural light, and the original color atmosphere.

Apply only restrained art-magazine, independent-publication, or exhibition-photography color correction. Do not redraw, vectorize, beautify, materially relight, or apply botanical pieces, black lines, typography, paper texture, or graphic overlays to this region.

Crop deliberately for the upper half. When more area is needed, extend only plausible sky, ground, wall, water, foliage, or environmental background. Never stretch, warp, mirror, duplicate, or redesign the subject.

Translate the source into found forms

Before prompting, privately identify:

1. the one hero subject or inseparable relationship carrying recognition;
2. its decisive contour, posture, orientation, movement, openings, overlap, and negative spaces;
3. three to six identity features that must survive simplification;
4. the photograph's emotional or narrative proposition;
5. natural material shapes already analogous to each major form: a curved leaf for a back, paired seeds for eyes, a forked twig for legs, petals for a gesture, bark for a wall, grass for motion, or another source-specific mapping;
6. the hero's visual center of gravity and natural direction of growth or travel;
7. the upper photograph's most spirited color relationship;
8. one concise English title and only a few useful micro-annotations.

Use the smallest material set that preserves recognition and meaning. Do not include a plant piece unless its native shape, texture, color, or edge performs a specific structural or narrative job.

Do not expose this analysis or repeat the user's design brief.

Assemble without disguising the materials

Use whole or gently broken natural pieces. Preserve leaf veins, petal translucency, stem bends, seed shells, fruit skins, grass fibers, bark fissures, dry-leaf curls, color variation, holes, tears, and irregular edges.

Combine the materials directly into the hero's main masses and relationship. Use overlap, rotation, scale, proximity, and natural curvature rather than precision cutting. Minor trimming is acceptable only when necessary for a clean contact; never reduce plants into exact circles, rectangles, triangles, smooth vector silhouettes, or uniformly clipped mosaic tiles.

Choose material by visible role:

• broad leaves or bark for principal body, roof, terrain, garment, or vehicle masses;
• narrow leaves, stems, grass, or twigs for limbs, branches, paths, rails, antennas, motion, or directional axes;
• petals, fruit skin, colored leaves, or seeds for focal features and small accents;
• translucent petals or thin leaves for light, water, wings, glass, mist, or delicate overlap;
• dried or curled pieces for age, roughness, shadow, weather, or a supported emotional contrast.

Do not paint over materials, enclose them in a drawn silhouette, cover their surface with digital color, or hide their real edges. Avoid artificial plastic leaves, identical stock botanical elements, decorative flower bouquets, and generic wreath composition.

Use black marks only where nature cannot

Add only a few thin, relaxed, slightly hand-drawn black or deep-gray marks. Use them for an eye, mouth, tiny expression, short movement cue, local connector, small joint, handwritten trace, or a subtle layout rhythm.

Before adding a line, ask whether a leaf edge, twig, gap, overlap, vein, or shadow already performs the job. Prefer the natural material. Never trace the full subject, outline every leaf, add a cartoon face by default, or turn the reconstruction into line art with plant fill.

Build an implied rectangular field

Use one simple rectangular color area or paper zone to organize the lower half, but do not draw a complete border. Let the field be understood through color, crop, alignment, and the placement of the material cluster.

Place most of the hero inside the field. Let only one to three directionally justified parts cross beyond it: a branch following growth, a leg or wheel continuing movement, a tail extending balance, a roofline reaching outward, a wing opening, or another source-supported continuation.

The crossing should look inevitable rather than staged. Keep a clear center of gravity, large quiet space, incomplete symmetry, and a calm eye path. Do not force every subject to break the edge, repeat equal protrusions, draw a decorative frame, or build a grid of colored blocks.

Present the result as a flat editorial artwork. Do not add a frame, wall, table, hands, scissors, glue, herbarium labels, scrapbook tape, product packaging, or craft-workshop mockup.

Translate color through real plants

Extract the upper photograph's most recognizable and life-filled color character. Re-express it through the actual colors of available botanical materials rather than uniformly recoloring them.

Preserve natural variation among greens, petals, fruit, bark, stems, and dried leaves. Use one dominant material color family, a few supporting natural variations, and at most one brighter focal piece tied to the source.

Choose a pale, soft, or clean source-derived lower field that supports the materials. Keep the palette fresh, restrained, alive, and coherent without suppressing real color shifts.

Avoid fixed botanical green palettes, artificial dye, identical hue normalization, muddy aging, sepia, gray-beige craft paper, rainbow flower sampling, neon color, candy palettes, or color fields that overpower the materials.

Integrate light editorial text

Derive one short English title from the source's mood, action, relationship, or metaphor. Add only a few micro-annotations when they contribute rhythm or meaning.

Place text near an implied field edge, suspend it in negative space, or align it with a twig, leaf, stem, gaze, or motion direction. Keep it small, precise, and subordinate rather than using a conventional centered poster headline.

Do not use direct object labels, fixed slogans, long copy, years, issue numbers, unsupported facts, pseudo-language, logos, brands, signatures, or watermarks.

Compile the image-edit prompt

Write one source-specific production prompt per input photo containing:

1. one independent 3:4 portrait output and the exact 50% photography / 50% botanical-assemblage split;
2. the upper-half preservation invariants, restrained color correction, crop, and any safe background extension;
3. the hero, narrative proposition, silhouette, posture, direction, relationship, and three to six defining features;
4. the exact botanical piece assigned to each major form and the native shape, texture, color, or edge that makes it suitable;
5. the assembly's overlap, rotation, scale, proximity, negative spaces, natural contact, and deliberately omitted source detail;
6. the zero-to-few black marks and the exact information each supplies;
7. the implied rectangular field, hero placement, center of gravity, incomplete symmetry, quiet-space shape, and one-to-three justified edge crossings;
8. the source-derived color character, natural plant variation, focal piece, pale field color, and area hierarchy;
9. the exact short English title and microtext with their field-, leaf-, twig-, gaze-, or negative-space-aware placement;
10. hard exclusions: no multi-photo layout, no altered or redrawn upper subject, no approximate split, no full black outline, no plant pieces cut into precise geometry, no painted-over materials, no plastic plants, no bouquet or wreath, no children's leaf craft, no forced edge breaking, no complete border, no scrapbook props, no conventional centered headline, no logo, and no watermark.

Use concrete material-to-form mapping, natural edge behavior, placement, and interaction language rather than relying on adjectives such as “smart,” “poetic,” or “handmade.”

Inspect and correct

Review every result at full size and thumbnail size. Verify the exact split, truthful upper photography, immediate lower recognition, visibly real botanical pieces, native irregular edges, minimal black marks, one implied field, natural edge crossing, source-responsive color, large quiet space, and restrained English text.

If the subject needs a complete line outline to read, improve the botanical shape mapping and overlap instead. If pieces look precision-cut, restore whole natural contours and irregular breaks. If it resembles a children's craft, reduce cute facial detail, equal pieces, and decorative flowers; strengthen editorial scale and space. If crossing looks staged, keep only the part whose real direction naturally continues beyond the field. If materials become visually noisy, reduce their number and merge the hero into larger botanical masses. Regenerate with one targeted correction when needed.