Monochrome Breakout Drawing Poster

Monochrome Breakout Drawing Poster

Use the system imagegen skill and image-generation tool. Treat every uploaded photograph as the edit source. Make the lower subject inhabit, cross, and emerge from one black geometric field rather than sit on top of it.

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 monochrome breakout drawing in the lower half. Do not let either medium invade the other.
• Preserve immediate correspondence through the hero's silhouette, posture, proportion, direction, relationship, and defining structure.
• Use one solid black rectangular field, one primary subject, black-white-gray drawing, and zero or one small accent color.
• Render visible wording 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 black fields, line art, typography, or graphic overlays to this region.

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

Extract a breakout blueprint

Before prompting, privately identify:

1. the one hero subject or inseparable relationship carrying recognition;
2. its decisive contour, posture, proportion, direction, openings, overlaps, and center of gravity;
3. three to six identity features that require line, white negative shape, or gray plane;
4. the head, top contour, branch, roof, limb, vehicle edge, object part, or other directional feature best suited to break the field boundary;
5. the source action, mood, state, or implied meaning that the breakout can amplify;
6. whether a horizontal or vertical black rectangle best supports the hero's mass and direction;
7. the one source color and exact local detail worthy of accent, or the decision to use no color;
8. one concise English title and one to three groups of tiny editorial notation.

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

Build one black spatial field

Choose a horizontal rectangle for lateral motion, rest, landscape, spread, or low wide subjects. Choose a vertical rectangle for standing, growth, architecture, falling, climbing, or narrow tall subjects.

Set the field's size, position, and crop from the hero's center of gravity. Keep most of the hero inside the black area while preserving large white paper around it. The rectangle should feel stable, dense, and geometrically exact.

The black field is both background and active spatial material. Use it to hide part of the subject, generate white counterforms, erase selected contour segments, and create contrast for the emerging feature.

Do not use multiple black blocks, gradients, irregular brush rectangles, a decorative border, a title banner, a frame around the entire drawing, or a full-width black half with no breathing room.

Make the subject emerge, not float

Create at least three connected spatial states:

1. an internal section drawn or shaped within the black field;
2. a boundary section where contour, white counterform, and black field exchange roles;
3. one recognizable feature continuing into the surrounding white paper.

The breakout should follow a real source direction: a head leaning out, branches growing upward, a roof crossing a top edge, a limb reaching, a vehicle moving, an object handle projecting, or another structurally justified continuation.

Use local occlusion and contour interruption so the field visibly contains part of the hero. If the rectangle can be removed without changing the drawing, the interaction has failed.

Avoid white sticker borders, glow, drop-shadow cutouts, a complete subject pasted over the field, repeated breakout points, forced edge crossing, or decorative shapes escaping without narrative purpose.

Draw with controlled human line

Use flowing black hand-drawn contours, white negative shapes, and a few restrained gray planes. Keep line weight fine to medium, stable, smooth, and elastic. Allow slight hand variation at curves, turns, and pressure changes.

Simplify internal detail to a few structural lines, expression marks, joints, folds, seams, openings, or shadows needed for recognition. Let the black field replace some dark masses and let white paper form highlights or openings.

Do not use a pure filled silhouette. Avoid repeated sketch lines, jitter, scratchy noise, scribbles, deliberate childishness, thick marker contours, polished vector uniformity, photorealistic shading, crosshatch density, halftone photography, or 3D modeling.

Place zero or one exact color accent

Use an accent only when the source contains a small, narratively central or memorable detail: an eye, flower, fruit, garment part, sign, light, tool, carried object, wheel, button, surface patch, or action focus.

Extract one representative hue from the upper photograph and gently purify it. Keep the accent area very small, with one location or one tightly connected local cluster. Its job must be explicit: identity, action, emotion, direction, or memory.

If no local detail deserves emphasis, keep the lower composition entirely monochrome. Avoid coloring the full hero, using two accent hues, scattering dots, coloring the title, filling the rectangle with color, or adding an accent merely for decoration.

Compose black, white, and gray by area

Use the black rectangle as the dense visual base, white paper as the largest breathing field, and gray only for limited internal planes or soft hierarchy. Place the hero asymmetrically according to direction and weight.

Use scale, crop, density, positive/negative shape, and one breakout to create energy. Add at most one or two auxiliary straight lines, platforms, edges, or geometric cuts when they clarify support or space. They may not become a second subject.

Avoid centered logo-like composition, rigid symmetry, equal margins, many gray panels, complex scenery, secondary characters, decorative geometry, and dense background marks.

Present the result as a flat editorial artwork. Do not add a wall, frame, desk, sketchbook, pens, gallery mockup, product card, or advertising layout.

Integrate English microtype

Derive one concise English title from the source's action, mood, state, or metaphor. Add one to three groups of tiny annotations, numbers, state words, or short phrases only when supported.

Place text near a rectangle edge, inside a white counterform, along the breakout direction, or aligned and offset against the hero contour. Use black handwriting, a slender sans serif, or a restrained serif at small scale.

Keep it like an illustrator's note or editorial mark, not a commercial headline. Do not use long copy, unsupported locations or numbers, slogans, logos, brands, signatures, pseudo-language, 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% breakout-drawing split;
2. the upper-half preservation invariants, restrained color correction, crop, and any safe background extension;
3. the lower hero, relationship, contour, posture, proportion, direction, center of gravity, and three to six identity features;
4. the exact horizontal or vertical black rectangle choice, size, position, crop, area ratio, and spatial function;
5. the hero's internal, boundary, and emerging states, exact breakout feature, contour interruption, occlusion, and negative-shape exchange;
6. the controlled line weight, white counterforms, gray planes, minimal internal details, and intentionally deleted information;
7. the zero-or-one source-derived accent color, exact local placement, area, and narrative function;
8. the asymmetric placement, black/white/gray area hierarchy, one visual center, auxiliary geometry, entry, breakout, and quiet exit;
9. the exact English title and one-to-three microtype groups with their edge-, counterform-, direction-, or contour-aware placement;
10. hard exclusions: no multi-photo layout, no altered or redrawn upper subject, no approximate split, no multiple black fields, no generic title banner, no complete subject pasted over black, no sticker border, no pure silhouette, no rough scribble, no jittery repeated lines, no smooth vector uniformity, no more than one accent color, no colorful cartoon, no realistic shading, no 3D, no product card, no logo, and no watermark.

Use concrete field direction, contour state, negative shape, line behavior, accent function, and area ratio rather than relying on adjectives such as “premium,” “witty,” “modern,” or “breakout.”

Inspect and correct

Review every result at full size and thumbnail size. Verify the exact split, truthful upper photography, immediate lower recognition, one exact black rectangle, real internal/boundary/emerging interaction, controlled hand line, readable white counterforms, limited gray, zero or one precise color accent, large white paper, and restrained English microtype.

If the hero looks pasted on, remove continuous outer contour at the field boundary and make black/white shapes exchange roles. If the rectangle feels decorative, use it to hide, reveal, or form part of the hero. If the drawing becomes a silhouette, restore essential white openings and internal lines. If lines look rough or childish, simplify and smooth their rhythm without making them vector-perfect. If color competes, reduce it to one smaller local feature or remove it. Regenerate with one targeted correction when needed.