Woodcut Print Graphic Design Poster

Please create an independent high-design poster for each photo I upload, without combining multiple images; output each photo separately. Use a 3:4 vertical composition, with the upper and lower areas strictly 1:1 in height, each occupying 50% of the frame. The upper part retains the original photo, preserving the main structure, realistic texture, natural lighting, and original color atmosphere, with only slight advanced photographic color grading to give it the quality of art publications and exhibition photography. To adapt to the frame, you can naturally extend the sky, ground, or environmental background, but do not stretch, distort, or alter the subject. The lower part extracts the most recognizable **subject, silhouette, posture, and narrative relationship** from the photo, first understanding its core meaning, cultural attributes, or emotional relationship, then reconstructing it into a graphic image with the qualities of folk catalogs, ancient rubbings, and modern graphic design. Do not translate elements from the photo one by one, nor add generic traditional patterns; only retain **one core visual motif and a very small amount of truly narrative auxiliary forms**, using silhouettes, negative space, partial enlargement, form merging, and symbolic translation to make the graphic both correspond to the original and express its underlying meaning. The composition is based on a rigorous **geometric framework and proportional system**, extracting circles, squares, triangles, arcs, axes, or repeated ratios from the subject's own structure as 'geometric matrices', then allowing all subjects, auxiliary graphics, text, and white space to align, be tangent, share axes, nest, mirror, progress proportionally, or be cropped at boundaries with them. The layout can be freely distributed, off-center, overflow, or asymmetric, but must share the same structural logic, forming a clear visual center, hierarchy, rhythm, and negative space; from a distance, the order is clear, and up close, traditional imprints and detail variations are discovered, avoiding random scatter and decorative piling. The color scheme extracts the most recognizable, vibrant, and spiritual colors from the photo above, reorganizing them into a fresh and restrained paper print color set. Use a bright light paper base to create a sense of breath, use one dark color to establish the visual framework, then organize the subject and a small amount of emphasis with 1-2 theme colors derived from the original image, establishing layers through area proportion, overprinting, and brightness relationships; colors should be clean and spirited, avoiding gray dirtiness, fixed folk color schemes, and cluttered multi-colors. The texture uses a mixed quality of **woodblock rubbing, dry brush screen printing, and old-style catalog printing**, with broken ink, scratches, exposed base, and uneven ink quantity mainly existing within the graphics, while geometric boundaries, important outlines, and overall layout remain clear and accurate, forming a contrast of 'rough material texture × rigorous geometric order'. Text is only auxiliary information in the composition, extracting a small amount of titles and micro-annotations from the photo's theme, meaning, or cultural attributes, arranged freely along geometric axes, negative space, or graphic boundaries, aligning, nesting, or interspersing with the subject, but not dominating the visual center. Overall, it presents a visual quality that is **meaning-first, graphically restrained, geometrically rigorous, rubbing-rough, white-space-clear, and coexisting traditional cultural sense with modern design order**. Every graphic that appears must have a source, meaning, and structural role; remove decorative elements that do not enhance theme understanding, avoiding material collage, traditional symbol intrusion, average typesetting, realistic illustrations, and template feel.

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