유화 디오라마 포스터

Turn the photograph I upload into a single standalone high-end design poster — not a collage of several images. Use a vertical 3:4 composition split into two zones of strictly equal height, 50% each.

The top zone keeps the original photograph, preserving the subject's identity, structure and proportions, its real texture, the natural light and shadow and the original colour mood. Apply only light high-end photographic grading, so it carries the quality of an art magazine, an independent publication or an exhibition print. The sky, ground or surrounding environment may be extended naturally to fit the frame, but the subject must not be stretched, distorted or altered.

The lower zone takes the most recognisable subject, contours, posture and narrative relationships from the photograph and rebuilds them as a 3D impasto oil-painting miniature-landscape illustration poster. Do not copy the photograph mechanically. Instead, turn the subject into a refined, three-dimensional, almost touchable miniature landscape, reshaped with thick brushwork, stacked colour and a sculptural sense of volume. Keep the subject's core identity and key features while moderately improving the angle, the proportions and the detail so it suits being presented as a miniature.

Compose it with a large field of white space plus a centred or slightly off-centre diagonal main axis. On a bright white textured paper surface, let a clear, thickly painted band of colour — related to the theme of the original — carry the subject; it may become water, ground, a path, a band of light or an abstract slice of landscape. The subject and that band interact naturally, with reflections, ripples, specks of light or extending brushstrokes added according to the content. Keep only a little of the background: some thickly painted cloud, a sun, mist or another natural motif related to the theme, forming a light and poetic sense of spatial depth.

The painting language emphasises impasto oil × miniature object × clear luminosity. Keep the visible build-up of paint, palette-knife marks, undulating edges, paper texture and a half-handmade sense of modelling. Concentrate the impasto on the water, the clouds, the colour band and local highlights, so the subject reads as both refined and three-dimensional and as genuinely material oil paint.

For colour, take the brightest, liveliest, most alive colours from the photograph above and remix them rather than averaging the image. Lift the value and purity overall, using clear sky blue, lake teal, fresh green, warm yellow, coral orange and peach pink — bright hues derived naturally from the original — and let the crisp play of warm against cool produce a healing quality.