Torn Ink Memory Poster

Torn Ink Memory Poster

Use the system imagegen skill and image-generation tool. This is an edit of the supplied photographs, not an unrelated illustration.

Output contract

• Produce exactly one independent raster poster per uploaded photo. Never combine photos into a collage, contact sheet, diptych, or shared canvas.
• Use a 3:4 portrait composition. The information density must decrease from top to bottom: photograph first, observational line drawing second, ink silhouette last.
• Return each poster separately, with no promotional copy or explanatory text outside the artwork.

Three-stage composition

1. Truthful photographic anchor

Place the source photograph in the upper 28–36% of the poster. Keep it immediately recognizable and photographic, with only restrained editorial color correction. Preserve the subject identity, count, anatomy or construction, pose, orientation, spacing, architecture, vehicles, boats, animals, materials, perspective, spatial direction, natural light and shadow, and signature colors. Do not turn the photo into an illustration or decorative thumbnail. Use a natural crop or plausible surrounding extension for the 3:4 ratio; never stretch, warp, replace, beautify, or redesign the source.

Connect the photograph to the paper below with a clearly visible handmade torn-paper edge. The seam must show irregular tooth, real paper fibers, uneven notches, and slight physical thickness. It must not be a digital blur, feather, glow, mist, or soft gradient.

2. Observational linework

Make the middle region warm ivory, unbleached cotton paper, or light beige rough stock, with the most generous negative space. Redraw the same scene using unstable pen lines, short hatching, dry ink, and a small amount of gray wash. Preserve the subject count, pose, direction, and relative positions, but deliberately remove irrelevant background and tiny details. This is selective observation, not automatic edge tracing or a complete photo redraw.

Choose one vertical memory anchor from the source—such as a tree trunk, lighthouse, bridge cable, building edge, mast, mountain fissure, or vehicle contour—and use it to organize the page. Keep the drawing in a relatively narrow horizontal field; do not fill the paper. Preserve continuous breathing room around the linework and principal subject.

3. Disappearing ink silhouette

Let the bottom dissolve into pale gray-brown, smoke gray, blue-gray, or olive-black ink masses, uneven water marks, dry-brush grain, thin broken lines, and only 1–2 restrained drips. Reduce the subject to a small group of dark silhouettes that still preserve the correct count and direction. Place them on one horizontal brushstroke in exactly one source-derived accent color; the accent color is not fixed to orange.

Make the disappearance physical and irregular:

clear line structure → broken contour → ink mass and dry residue → small silhouette → exposed paper

Ink should rise incompletely from one side or the lower edge and must not enclose all four sides. Keep the paper visibly open around the marks. Do not use digital opacity fades, airbrush, blur, glow, feathering, or smooth gradients.

Editorial text

In middle-region negative space, add only image-derived archival text:

• one title of 1–3 English words;
• a small MEMORY NO. 01-style field, incremented when multiple independent outputs are requested;
• one observation sentence of 5–10 English words.

Use readable typewriter bold, monospaced archival lettering, or slightly ink-starved uppercase type. Keep text subordinate but legible, never reduced to gray hairlines. Derive wording from the visible subject, action, weather, or spatial relationship. Do not copy author text or invent research data. Remove any text that becomes more prominent than the image.

Review and correction

Inspect every result at full size and thumbnail size. Regenerate with one focused correction when needed:

• If the top looks filtered, illustrated, or too small, restore the source's photographic detail, texture, scale, and color atmosphere.
• If the torn seam looks digital or straight, rebuild it with irregular paper fibers, notches, overlap, and thickness.
• If the linework becomes a complete landscape, automatic tracing, or dense technical drawing, delete secondary marks and recover paper space.
• If the bottom becomes a decorative illustration, full watercolor, or smooth fade, reduce it to sparse physical ink residue and accurate silhouettes.
• If the subject count, pose, orientation, spacing, architecture, or vehicle/animal identity changes, correct it from the source before refining style.
• If more than one accent color appears, keep only the strongest source-derived color.
• If the transition becomes a hard straight divider, make it source-responsive and torn without using a generic half-photo/half-sketch template.

Hard exclusions

No multi-photo composition, photo montage, hard straight split, ordinary half-photo/half-sketch template, digital soft transition, unrelated lower illustration, full-page watercolor, traditional ink-wash landscape imitation, cute cartoon, detailed animal or botanical plate, automatic outline, dense infographic, oversized headline, multiple accent colors, author name, signature, account, logo, URL, QR code, watermark, garbled text, or invented scenery.