Travel Pop Up City Book

TRAVEL POP-UP CITY BOOK｜旅行城市立体书

Use the image-generation/editing capability to process every uploaded travel photo independently. Output one finished poster per source photo; never make a multi-photo collage.

Core composition

• Use a premium 3:4 vertical layout.
• Divide it into two roughly equal-height regions with a straight, crisp horizontal boundary.
• Do not feather, blend, or let paper structures cross that boundary.
• The upper region is real photography; the lower region is a physical pop-up book reconstruction.

Upper region: original photograph

Keep the source photo visibly photographic and preserve, as accurately as possible:

• place identity and core architecture;
• the direction of the river, canal, road, or square;
• bridges, towers, domes, roofs, and major silhouettes;
• left-to-right order, occlusion, viewpoint, terrain, and depth;
• the positions and directions of boats, vehicles, and a few people;
• real materials, natural light, shadows, and the original color atmosphere.

Only apply restrained travel-magazine / art-publication color grading and an almost imperceptible fine film grain. Natural crop or extension of sky, water, road, or surrounding environment is allowed for the vertical format. Never stretch, warp, mirror, move, replace, or redesign architecture, bridges, boats, or people.

Lower region: complete hardcover pop-up book

Use a clean warm-white empty field. Center one complete, open, flat, collectible hardcover pop-up book, occupying about 65–85% of the lower region width with continuous clean negative space around it.

The camera is slightly elevated with a mildly frontal view so the result clearly shows the hardcover cover, central spine and binding groove, both pages, stacked page edges, cover wrap, paper thickness, and the raised scene. It must read as a real book that can close—not a paper-cutout base, flat illustration, architectural model, paper-clay object, or glossy 3D render.

• Extract the cover color from the source photo’s darkest stable color: deep blue, ink green, charcoal, umber, dark red, or a similarly grounded color.
• Use thick warm ivory paper for the book block.
• Keep the book smaller than the entire lower field; preserve negative space.

Location extraction and paper-engineering structure

Select 3–8 source-derived elements that prove the location: the main landmark, water/road/square, distinctive tower or dome, bridge/arch, waterfront facades, boats/vehicles/few people, and one coherent set of foreground-to-background architecture. Preserve source left-right order, heights, traffic direction, occlusion, and viewpoint. Delete dense windows, repeated roofs, complex signs, crowds, tiny vegetation, water ripples, irrelevant street furniture, and details that do not aid recognition. Never invent a landmark, second city, cultural symbol, clothing, or person absent from the photo.

Build an explicit front/middle/back layered paper scene:

• Low layer: canal, river, road, square, or ground plane unfolds along the spine as a continuous printed sheet. Water may be gray-blue, blue-green, or deep green and must cross the spine in the same direction as the source.
• Middle layer: principal buildings, waterfront facades, bridge, trees, and blocks rise from the pages. Keep silhouettes, roof direction, key openings, facade proportions, a few representative windows, and location-defining colors; omit exhaustive detail.
• Back layer: tower, bell tower, dome, castle, mountain, or tallest landmark becomes the highest vertical structure. Give it believable fold geometry, support tabs, or a rear brace; it must not float.
• Front layer: a boat, vehicle, person, railing, or other scale cue may rise on a small independent flap near the viewer. It supports depth and scale without becoming a second focal point.

Show credible paper construction: mountain folds, valley folds, scored fold lines, die-cut edges, paper slots, insertion tabs, connecting tongues, hidden supports, triangular rear braces, layered cardstock, central page hinge, visible page thickness, exposed paper fibers, matte printed ink, and slight handmade registration errors. Bridges may span both pages only when supported by side layers or concealed braces. Towers may use a central vertical fold, slots, and rear triangular support. Every raised part must be physically foldable, attached, and compatible with closing the book. Add light contact shadows consistent with paper thickness—never heavy CGI shadows.

Color and typography

Derive the paper palette entirely from the source photo, compressing it into a limited, softened matte print palette. Prioritize landmark/building identity colors, roofs, water, vegetation, stone neutrals, and one accent from a boat, door, window, or vehicle. Unify with warm ivory, gray-blue, terra cotta, olive, umber, and stone gray as appropriate. Avoid neon, high-saturation toy colors, plastic, resin, gloss, and fixed palettes unrelated to the source.

Add only a small amount of legible English marginalia integrated into the book page. Normally include:

1. a 1–3 word structural title, such as CANAL FOLD, BRIDGE LAYER, LAGOON AXIS, TOWER RISE, WATERFRONT PAGE, or CITY HINGE;
2. a location and series number, such as VENICE POP-UP STUDY 01, when the place is reliable, otherwise CITY POP-UP STUDY 01;
3. a 6–14 word observation sentence describing only visible architecture, water, boats, roads, direction, or spatial relations.

Examples:

CANAL FOLD VENICE POP-UP STUDY 01 The water becomes the hinge between two rows of walls.

RIALTO ARCH VENICE POP-UP STUDY 02 The bridge rises while the gondola slips below.

Use a small serif, narrow sans-serif, or plain letterpress style in graphite gray, blue-gray, or cover ink. Keep it along a page edge, spine, or water axis, with subtle embossing, debossing, letterpress, or ink absorption. Text must remain readable but never become a large title. Keep total text under 5% of the page area. At most one page number, short rule, or tiny binding field is allowed. Do not add an author, account, signature, logo, QR code, URL, watermark, fake place name, or nonsense text.

Final quality bar

The result should feel like a quiet, precise chapter from a collectible architectural paper-art travel book: the upper half records the city as photographed, while the open book below folds the same canal, road, bridge, and buildings into a savable spatial object. Keep it premium, calm, tactile, editorial, and physically believable.

Reject or regenerate results showing:

• missing original-photo comparison or a generated photorealistic replacement;
• multiple-photo collage;
• flat illustration printed on open pages;
• ordinary paper collage, single-layer silhouette, origami terrain, paper-clay model, plastic 3D, resin miniature, or realistic architectural model;
• children’s toy-book styling;
• invented landmarks, mixed cities, a different location on each page, wrong building order, or missing central spine/page edges;
• absent fold lines, impossible floating structures, book filling the lower field, or no surrounding negative space;
• desk props, hands, bookshelf, room mockup, large typography, fake place names, author name, signature, logo, QR code, watermark, or gibberish.