Isometric Watercolor Structure Study Poster

Isometric Watercolor Structure Study Poster

Use the system imagegen skill and image-generation tool. Treat each uploaded photograph as the sole visual evidence for its edit. Do not borrow structures, colors, objects, or relationships from unrelated references.

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 isometric watercolor study in the lower half. Do not let either medium invade the other.
• Redraw the lower subject from scratch. Do not paste, crop, trace photographic texture, or insert photo fragments into the study.
• Preserve unmistakable correspondence through identity, geometry, proportion, observation direction, spatial relationship, defining details, material color, and scale cues.
• 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, viewpoint, facing direction, perspective, pose, spatial relationships, real materials, natural light, and the original color atmosphere. Do not add, replace, merge, or remove meaningful subjects.

Apply only restrained art-magazine, independent-publication, or exhibition-photography color correction. Do not redraw, vectorize, beautify, materially relight, or apply watercolor, paper texture, analysis lines, 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 ambient background. Never stretch, warp, mirror, duplicate, rotate, or redesign the subject.

Extract a source blueprint

Before prompting, privately record:

1. the core hero subject or inseparable relationship and the photograph's actual meaning;
2. the main structural axis, original observation direction, and facing or movement direction;
3. the foreground, middle-ground, and background order;
4. three to seven identity-defining features;
5. symmetry or asymmetry, major component relationships, openings, overlaps, and negative spaces;
6. four to six principal source colors, their area hierarchy, and the important material-color cues;
7. one or two environmental elements that establish scale;
8. one stable base or anchor region from which the layers can be mentally reassembled;
9. one concise supported title and only the annotations needed to clarify the study.

If exact construction is hidden, show only what the source supports. Use a simplified opaque or translucent layer rather than inventing an interior, mechanism, material, room, anatomy, or rear view.

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

Reorganize with isometric logic

Use clear, restrained axonometric spatial logic to organize the lower drawing while remaining faithful to the source's structural and viewing logic. Preserve the visible orientation, handedness, facing direction, proportion, depth order, and key spatial relationships. Do not arbitrarily rotate the subject to a generic three-quarter view.

Separate the hero into two to five meaningful, mostly complete levels or components. Use the subject's real axes and perspective directions. Keep layer gaps moderate and even, align them to one shared center axis or spatial grid, and preserve one stable, detail-rich base or anchor so the viewer can mentally reassemble the whole.

Choose decomposition by subject:

• architecture, interiors, objects, and assembled forms: separate roof, floor, shell, frame, base, module, enclosure, or connector only when visibly or logically supported;
• streets, landscapes, and spatial scenes: unfold foreground, middle ground, background, enclosure, path, water, terrain, or atmospheric planes while preserving depth relationships;
• vehicles: separate broad body, cabin, frame, wheel or propulsion groups only when recognizable and supported; avoid invented engineering internals;
• people, animals, and plants: keep the body or organism whole. Use overlapping contours, posture layers, motion paths, garment or surface color planes, growth rhythms, and restrained offset echoes; never sever limbs, dissect anatomy, or convert living forms into machine parts.

Avoid theatrical fragmentation, flying debris, extreme exploded spacing, arbitrary floating parts, mechanical disassembly, or a complete engineering manual. The visual result is an editorial research drawing, not assembly instructions.

Compose for study and narrative

Place the lower hero near center or lightly offset according to the source's weight and direction. Keep the stable base in the lower or central area. Expand separated layers upward, outward, or into depth along the true axes. Preserve ample warm-paper negative space and a clear route from anchor to layers to notes.

Retain the source's core relationship and a small narrative clue, not merely an isolated object. Scale figures, shadows, vegetation, paths, adjacent structures, carried items, gaze, or movement marks may remain when they explain meaning or scale. Keep them sparse and subordinate.

Use a few human, slightly naive observational line variations when they add warmth, but retain professional geometry and legibility. Avoid cute sticker interactions, decorative mascots, or invented storytelling unsupported by the photo.

Paint a watercolor research plate

Use warm ivory-white watercolor paper with subtle natural grain. Combine precise but living linework, translucent watercolor planes, light pigment blooms, controlled overlaps, a few construction guides, and restrained analytical marks.

Derive four to six colors from the source and gently purify them. Preserve their identity, area hierarchy, temperature, and important material relationships. Use transparent layering and paper white for clarity; keep colors accurate, crisp, restrained, and energetic.

Avoid muddy gray mixtures, heavy opaque paint, uniform digital fills, glossy gradients, over-rendered surfaces, dense crosshatching, blueprint blue, neon accents, plastic CGI, cartoon cel shading, or generic sepia architectural sketching.

Integrate research typography

Derive one concise title from the subject's identity, theme, action, state, or symbolic meaning. Add only a few useful numbers, structural markers, side notes, material words, state words, directions, or micro-explanations.

Use slender, restrained typography arranged horizontally, vertically, or with slight offsets along axes, layer directions, page edges, or callout positions. Connect annotations with fine leaders only when their target is clear. Typography should bridge architectural study, watercolor observation, and editorial publication.

Do not use years, issue numbers, invented dimensions, unsupported material names, long explanatory paragraphs, 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% watercolor-study split;
2. the upper-half preservation invariants, original viewpoint and direction, restrained color correction, crop, and any safe background extension;
3. the lower hero, source meaning, main axis, observation direction, depth order, three to seven defining features, scale cues, and anchor region;
4. the exact two to five supported layers or components, separation directions, shared grid, gap rhythm, and mental reassembly path;
5. the subject-specific rule for architecture/object, spatial scene, vehicle, or intact living form;
6. the warm ivory paper, line character, translucent watercolor treatment, selected four to six source colors, area hierarchy, and limited analysis marks;
7. the exact title and annotations with their axis-, layer-, edge-, or callout-aware placement;
8. hard exclusions: no multi-photo or before/after layout, no altered upper subject, no approximate split, no pasted photo below, no arbitrary rotation, no unsupported back view or interior, no generic exploded template, no extreme fragmentation, no anatomy or limb separation, no mechanical conversion of living forms, no dense technical UI, no muddy paint, no CGI, no cartoon, no decorative micro-story, no logo, and no watermark.

Use concrete source evidence, geometry, layer spacing, paint, and annotation language rather than relying on adjectives such as “premium,” “isometric,” or “professional.”

Inspect and correct

Review every result at full size and thumbnail size. Verify the exact split, truthful upper photography, immediate lower-subject recognition, preserved direction and handedness, plausible two-to-five-layer decomposition, stable anchor, coherent isometric order, source-derived color hierarchy, warm watercolor paper, restrained notes, and ample quiet space.

If the lower view invents a new angle, restore the source observation direction and visible relationships. If layers feel arbitrary, merge them and separate only supported structural levels. If a living subject appears dissected, restore the complete body and use posture, surface, or motion layers instead. If it resembles an engineering manual, remove most guides and labels. If recognition is weak, reinforce the silhouette, three most defining features, and anchor. If color drifts, return to the recorded four-to-six source colors. Regenerate with one targeted correction when needed.