Handwritten Observation Atlas Poster

Handwritten Observation Atlas Poster

Use the system imagegen skill and image-generation tool. Treat each uploaded photograph as the edit source. Turn close observation of its material, action, sound, touch, taste, and memory into a page that feels casually collected but deliberately readable.

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 handwritten observation page in the lower half. Do not let either medium invade the other.
• Preserve immediate correspondence through a family of recognizable source fragments rather than one standardized icon.
• Use white paper as the largest area, small warm illustrations, thin black handwriting, and a loose near-horizontal reading rhythm.
• Use the user's language for annotations unless they request 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 magazine- or exhibition-photography color correction. Do not redraw, vectorize, beautify, materially relight, or apply notebook fragments, 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.

Observe before decomposing

Before prompting, privately identify:

1. the central subject or relationship and the overall source story;
2. five to nine observations worth recording;
3. one or two full miniature views that preserve identity;
4. two or three local close-ups, cutaways, cross-sections, openings, surfaces, or material details;
5. one repeated small item, motion sequence, or before/during/after relation when the source supports it;
6. one to three sensory cues: texture, sound, taste, smell, temperature, pressure, weight, speed, rhythm, or memory;
7. the source's warmest and most recognizable color relationship;
8. a bottom signature-like line containing only truthful title, theme, identifier, or date information.

Every observation must come from visible source evidence or user-provided context. Do not invent ingredients, sounds, flavors, materials, interior structures, histories, or personal memories.

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

Draw fragments as specific small objects

Create five to nine small illustrations across the upper and middle part of the lower page. Mix scales and types:

• one or two recognizable whole views;
• local close-ups of a face, leaf, wheel, window, edge, hand, food surface, fabric, tool, sign, or another source feature;
• a cutaway or section only when its inside is visible or reliably known;
• repeated pieces showing quantity, rhythm, motion, growth, or use;
• a small environmental fragment preserving the subject's relation to ground, weather, companion, container, road, table, or place.

Keep each object small, rounded, slightly perspective-shifted, and visibly hand-colored. Preserve material cues, local color, crumbs, browned edges, pores, fibers, veins, scratches, shine, cut surface, or other specific details.

Do not normalize them into equal-size icons, trace them with identical borders, use a six-cell catalog, add a generic white sticker outline, or repeat the same viewpoint.

Use a loose observation-page composition

Distribute fragments loosely across the upper and middle zones of the lower page. Create an approximate left-to-right reading rhythm without a strict table.

Use staggered baselines, varied gaps, small overlaps, and broad white intervals. Let one illustration lead, two or three medium details answer, and tiny observations punctuate the route.

Keep the bottom area quieter for one signature-like line. Avoid perfect rows, equal columns, dense scatter, diagonal scrapbook chaos, overlapping piles, decorative frames, ruled notebook pages, tape, clips, stamps, or many section dividers.

Present the result as a flat scanned observation page. Do not add a desk, book binding, hand, pen, notebook cover, product mockup, or stationery set.

Preserve hand-painted material and color

Extract the upper photograph's most lively and recognizable colors. Keep white paper dominant, black thin text, and a warm, clean, slightly high-key illustration palette.

Use natural local color for the small objects, then gently simplify and brighten it. Reserve stronger warm, deep, or supporting hues for focal details, shadow marks, texture, and rhythm.

Show hand-painted fill, watercolor/gouache/pencil absorption, local granulation, dry edges, tiny gaps, imperfect registration between line and color, and slightly uneven object edges.

Avoid fixed pastel palettes, muddy gray, yellowed vintage wash, heavy brown, neon, rainbow accents, smooth digital fills, gradients, glossy plastic, hard shadows, and uniform color treatment across every fragment.

Let handwriting become the page skeleton

Write short words, phrases, onomatopoeia, sensory notes, action notes, and small observations around the drawings. Keep wording specific: what feels rough, what clicks, how something bends, where light catches, what repeats, what remains, or another source-supported observation.

Use thin black handwriting with a slightly childlike or informal character. Allow relaxed letter spacing, small baseline jumps, uneven alignment, and occasional compact emphasis while preserving legibility.

Place some words close to object edges, some between fragments, and some alone in blank space. Use short connector lines sparingly. Make reading alternate naturally between image and text.

Avoid long paragraphs, generic labels, dense arrows, uniform captions beneath every item, commercial copy, motivational phrases, pseudo-language, logos, brands, signatures pretending to be an artist, or watermarks.

Build the bottom record line carefully

Add one small bottom line that may contain a title, theme, object name, chapter marker, page-like number, user-provided date, or a brief sentence.

Use a date only when supplied by the user or reliable metadata. Use a number only when factual or clearly presented as non-factual page notation. Keep this line quieter and more aligned than the observations above.

Do not invent dates, places, sequence facts, archive labels, scientific measurements, or personal signatures.

Preserve scanned-paper character

Use clean white paper with subtle scan softness, natural compression, slight edge irregularity, pigment absorption, and a small amount of surface grain.

Keep the page bright and readable. Allow a little unevenness at the paper edge or color boundary without adding a heavy aged effect.

Avoid thick drop shadows, paper tears, stains, tape, dark edge vignettes, yellowing, photocopy dirt, strong modern grid design, glossy digital sharpness, and heavy noise.

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% observation-page split;
2. the upper-half preservation invariants, restrained color correction, crop, and any safe background extension;
3. the source story, central relationship, and exact five-to-nine observations;
4. the one-to-two whole views, two-to-three close-ups/sections, repetition or motion sequence, sensory cues, and environment fragment;
5. the scale variation, near-horizontal reading route, staggered baselines, object positions, overlaps, white intervals, and quiet bottom zone;
6. each fragment's material, color, local texture, perspective, hand-painted marks, crumbs/fibers/grain/cut details, and non-icon character;
7. the exact handwritten words, phrases, onomatopoeia, and notes in the user's language, with their edge/blank/between-object positions and sparse connectors;
8. the truthful bottom title/theme/identifier/date line and factual support for any date or number;
9. the white paper, scan softness, compression, edge irregularity, pigment absorption, grain, and explicit lack of props/borders/heavy shadow;
10. hard exclusions: no multi-photo layout, no altered or redrawn upper subject, no approximate split, no strict table, no equal icon set, no generic sticker borders, no invented cutaway, no dense scrapbook, no long text, no fake date/place/fact, no dirty vintage page, no desk/notebook mockup, no commercial template, no logo, and no watermark.

Use concrete observation, fragment type, material cue, sensory evidence, reading rhythm, and handwriting placement rather than relying on adjectives such as “premium,” “cute,” “warm,” or “journal-like.”

Inspect and correct

Review every result at full size and thumbnail size. Verify the exact split, truthful upper photography, five-to-nine recognizable varied fragments, source-specific material details, loose readable rhythm, large white paper, thin handwriting, alternation between image and text, one quiet bottom line, and no grid/sticker-template feel.

If it looks like an icon chart, vary scale, viewpoint, edge, material, and placement. If it becomes a scrapbook, remove props, overlaps, stamps, and decoration. If observations feel generic, replace them with visible source-specific texture, action, sound, or relation. If text becomes hard to read, reduce handwriting distortion and shorten notes. If any field invents facts, remove it. Regenerate with one targeted correction when needed.