Photo and Schematic Diptych Poster

Please create a separate, independently designed premium poster from each uploaded photo. Do not combine multiple photos into one composition; output one individual poster for each photo. Use a vertical 3:4 composition, with the upper and lower sections strictly divided 1:1, each occupying exactly 50% of the total height.

Upper Half:  
Preserve the original photograph, maintaining the subject’s identity, structure, pose, realistic texture, natural lighting, and original color atmosphere. Apply only subtle, sophisticated color grading to give it the visual quality of an art magazine, independent publication, or exhibition image. To adapt the image to the 3:4 format, the surrounding background may be naturally extended, but do not stretch, distort, or alter the subject.

Lower Half:  
Extract the most recognizable subject, silhouette, structure, pose, and narrative relationship from the photograph and reconstruct it in the style of Mid-century vernacular graphic illustration + schematic line drawing + two-color spot printing.

Do not completely trace or replicate the photograph. Instead, use diagrammatic abstraction to compress complex objects into a small number of clear geometric shapes, functional contours, and essential structural elements. The result should resemble an illustration from an old instruction manual, advertising card, technical label, or vernacular print: immediately recognizable, yet more direct, humorous, and symbolic than the realistic object itself.

Emphasize economy of line: if a structure can be explained with a single line, do not use unnecessary strokes. Use direct black pen outlines, rectangles, circles, diamonds, straight lines, and simple planes to describe the objects. People, animals, and objects may have slightly exaggerated proportions, while machines, buildings, and complex structures should be simplified into clear boxes, openings, panels, and silhouette relationships.

Use a flat, schematic diagrammatic perspective rather than realistic lighting or strictly accurate spatial depth. The visual language should exist somewhere between illustration and technical diagram, maintaining this distinctive character throughout the composition.

Reorganize the composition according to the most important narrative relationship in the original image. Maintain one clear primary subject, while using a small number of supporting objects, guide lines, directional relationships, or structural symbols to reinforce the story.

Pay close attention to visual hierarchy, geometric order, scale contrast, positive and negative space, and intentional whitespace. The image may feel slightly naïve, awkward, or handmade in a vernacular way, but it must never feel cluttered. Every visual element should appear to exist for the purpose of “explaining what is happening”, rather than simply serving as decoration.