Public Issue Tension Line Poster

Public Issue Tension Line Poster

Use the system imagegen skill and image-generation tool. Treat every uploaded photograph as the edit source. Translate only the tension the image actually contains; do not assign a social or political message unsupported by the photograph or the user's context.

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 conceptual tension-line composition in the lower half. Do not let either medium invade the other.
• Preserve correspondence through an emergent source-related contour, pose, direction, relationship, or structural cue rather than a complete drawing.
• Use cold white, warm white, or a low-saturation pale ground; black hand-drawn line; vast blank space; and little or no other color.
• Use optional English text only as a tiny trace. Keep it away from the visual center.
• 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-, art-publication-, or public-issue-photography color correction. Do not redraw, vectorize, beautify, materially relight, or apply conceptual lines, typography, 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.

Identify the real tension

Before prompting, privately identify:

1. the one hero subject or inseparable relationship carrying recognition;
2. the source direction, connection, contradiction, pressure, obstacle, boundary, or turning point;
3. the point or region where tension accumulates;
4. the source's possible opening, transition, resistance, or release;
5. the one contour, pose, path, object, wound-like edge, structural joint, or relational gap that can emerge symbolically from the line system;
6. the lower line's entry edge, compression zone, change of direction, and exit/release direction;
7. whether a thorn, barb, knot, short crossbar, or no sharp mark is justified at each stress point;
8. one optional English theme word and one or two tiny supported notes.

Write one plain proposition: [subject/relationship] + [pressure or constraint] + [possible movement or consequence].

If the source has no public issue or clear conflict, keep the proposition personal and observational—distance, waiting, effort, confinement, fatigue, growth, passage, or another visible state. Do not manufacture tragedy, oppression, protest, injury, or political meaning.

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

Draw one wire-like line system

Use one principal continuous or near-continuous black path. It should behave like stretched wire, route, restraint, wound, seam, boundary, or connective thread.

Let it:

• enter from one paper edge;
• descend toward or collect near the lower or side region;
• coil, intersect, reverse, tighten, or knot where pressure accumulates;
• reveal part of the source identity through negative space or an emergent contour;
• rise, lift, open, or continue outward when the proposition contains release or transition.

The line system may include a few subordinate branches only when they represent connected actors, pressures, paths, or consequences. Keep them visibly dependent on the principal path.

Avoid many independent curves, decorative loops, arbitrary spirals, full realistic contours, complete closed illustration, generic heart/face/hand symbols, and a ready-made activist icon.

Place thorns only at stress points

Use a thorn, barb, knot, short crossbar, hook, or abrupt angular turn only where the line undergoes one of these conditions:

• forceful intersection;
• compression or binding;
• reversal or blocked direction;
• contact with a boundary;
• conflict between two paths;
• a source-supported wound, hazard, defense, or resistance.

Keep the number low and vary their form according to function. A calm or releasing section should lose thorns and become smoother, wider, or more open.

Do not distribute spikes evenly, decorate the full line with barbed wire, use aggressive weapon-like imagery by default, or add pain symbols unsupported by the source.

Preserve friction, hesitation, and pressure

Use black ink or dry-pen line with slight changes in width, pressure, and continuity. Show local friction, hesitation, short breaks, compressed overlaps, and heavier ink at stress nodes.

Keep the line fine enough to remain restrained. Let isolated roughness appear only where meaning intensifies. Use empty paper around it to amplify pressure rather than thickening everything.

Avoid smooth vector curves, uniform digital stroke, rough scribble, repeated sketch lines, dense hatching, large black fills, realistic shading, glowing edges, wireframe 3D, or heavy grunge.

Compose quiet tension

Place the emergent hero low, off-center, near a side, or close to an edge. Do not center or fill the lower half. Use large white or pale space as silence, delay, institutional distance, social separation, exposure, or the area into which release may occur.

Build one reading route: edge entry → accumulation → source recognition → directional change → possible release or unresolved exit.

Let line spacing, crossing, compression, direction, and blank-space interval carry the narrative. Keep one center of gravity and no second focal object.

Avoid decorative balance, symmetrical knots, full-page networks, many isolated nodes, complex scene drawing, background graphics, borders, and generic poster templates.

Present the result as a flat conceptual artwork. Do not add a frame, wall, desk, exhibition mockup, book spread, product card, or campaign presentation.

Add text as a minor trace

Use no text when the line proposition is sufficient. Otherwise add one short English theme word and one or two tiny groups: a supported location, number, status, or brief original reflective line.

Do not make factual public claims not established by the user or source. Do not invent places, statistics, dates, victim counts, organizations, quotations, or issue labels. Do not attribute a sentence unless the user supplies it.

Place text in a blank region, at a line turn, near a stress node, along a short segment, or just beyond an exit. Use fine, restrained, slightly handmade typography.

Keep text partially subordinate—aligned, divided, or lightly touched by the line. Avoid explanatory captions, slogans, advocacy calls, bold headlines, dense statements, 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% tension-line split;
2. the upper-half preservation invariants, restrained public-issue/editorial color correction, crop, and any safe background extension;
3. the source-backed proposition, hero or relationship, pressure/constraint, direction, turning point, consequence, and possible release;
4. the principal line's entry, descent, accumulation, coils/intersections/reversals/tightening, emergent source contour, lift/opening, and exit;
5. every subordinate branch and its dependent relationship to the principal path;
6. every thorn/barb/knot/crossbar/hook, exact stress condition, and where smooth line replaces it;
7. the line width, pressure, friction, hesitation, breaks, ink concentration, placement, center of gravity, blank-space meaning, and reading route;
8. the exact optional English word and one-to-two notes, factual support, and blank/turn/node/segment/exit placement;
9. hard exclusions: no multi-photo layout, no altered or redrawn upper subject, no approximate split, no unsupported political/social claim, no full realistic contour, no decorative curve network, no evenly distributed spikes, no default barbed wire, no large black fill, no smooth vector, no many colors, no 3D, no campaign slogan, no false data/quote, no logo, and no watermark.

Use concrete pressure, path, stress point, line behavior, blank-space role, and source evidence rather than relying on adjectives such as “premium,” “public issue,” “tense,” or “conceptual.”

Inspect and correct

Review every result at full size and thumbnail size. Verify the exact split, truthful upper photography, one source-backed tension proposition, one principal path, low/right/edge-weighted placement, meaningful stress nodes, sparse justified thorns, emergent recognizable contour, large silence, optional tiny text, and no unsupported claims.

If the line feels decorative, reconnect every turn and knot to source pressure or delete it. If the hero is too literal, remove contour sections and let it emerge from the path. If identity disappears, restore one decisive pose or structure cue. If spikes look ornamental, keep only actual stress points. If the issue claim exceeds the source, return to a personal spatial/action relation. Regenerate with one targeted correction when needed.