相片轉抽象主義建築插畫 — 現代圖騰象形文字

Reference the uploaded photo, but do not directly trace or realistically reproduce it. Analyze the single most recognizable visual feature in the composition and refine this feature into a highly abstract visual symbol. Apply extreme subtraction: delete approximately 95% of realistic details, completely omitting windows, tiles, railings, vehicles, signage, foliage, material textures, realistic lighting/shadows, and background environment. Eliminate photographic perspective and spatial depth, flattening the 3D scene into 2D graphic shapes. The entire illustration must use only 8–15 independent shapes. Organize the composition with a small number of horizontal brushstrokes, vertical lines, rectangles, trapezoids, ellipses, arcs, and silhouettes. Allow breaks, omissions, misalignments, and incomplete expressions—do not connect all architectural structures. Retain the visual memory and compositional rules of the photo rather than a complete object. The subject should resemble a quiet architectural hieroglyph, a modern totem, or a visual short poem composed of color planes. Centered subject, small scale, occupying only 25%–40% of the canvas, surrounded by generous untouched blank negative space. Graphic, frontal, almost logo-like composition, yet maintaining the organic irregularity of handcrafted painting. Background is warm ivory or light beige paper. Use only 3–5 low-saturation colors extracted from the original photo, primarily charcoal gray, slate blue, and beige-gray, accented with a small touch of brick red, ochre yellow, dark green, or coral. Do not replicate all photo colors. Apply minimalist handcrafted gouache and paper collage texture: flat, matte, slightly translucent, with subtly deckled brush edges and uneven pigment density, but no realistic textures, precise outlines, complex gradients, or shading. The result should be more abstract than an architectural sketch, more restrained than standard flat art, evoking modernist editorial illustration, abstract architectural posters, Eastern minimalist painting, and visual poetry. Viewers first see abstract composition, then recognize the original subject. Output a single standalone illustration. Do not generate photo comparison, split screens, titles, typography, logos, watermarks, swatches, decorative borders, or poster layouts.

参考输入照片，但不要直接描摹或完整重现照片。分析画面中最有辨识度的一个视觉特征，将这一特征提炼成一个高度抽象的视觉符号。对原照片进行极端减法：删除约95%的现实细节，完全省略窗户、砖瓦、栏杆、车辆、招牌、树叶、材质纹理、真实光影和背景环境。取消摄影透视与空间纵深，把三维景物压平为二维图形。整幅插画最多使用8–15个独立形状。用少量横向笔触、竖线、矩形、梯形、椭圆、弧形和剪影组织画面。允许断裂、省略、错位和不完整表达，不需要把建筑结构全部连接起来。只要保留原照片的视觉记忆点与整体构图规则，而不是保留完整物体。主体像一个安静的建筑象形文字、一枚现代图腾或一首由色块组成的视觉短诗。主体居中，尺寸较小，只占画布约25%–40%，四周保留大量未经装饰的留白。构图平面化、正面化、近乎标志设计，但保持手工绘画的不规则感。背景为温暖的象牙白或浅米色纸张。仅使用3–5种低饱和颜色，从原照片中提取最有代表性的颜色；以炭灰、灰蓝、米灰为主，搭配一个小面积的砖红、赭黄、暗绿或珊瑚色作为视觉点睛。不要完整复制照片的全部色彩。采用极简手绘水粉与纸本拼贴质感：扁平、哑光、略微半透明，笔触边缘轻微参差，颜料浓淡不均，但不要增加写实纹理。没有精细描边，没有复杂渐变，没有阴影塑形。最终效果应比建筑速写更加抽象，比普通扁平插画更加克制，接近现代主义编辑插画、抽象建筑海报、东方极简绘画与视觉诗歌。观者先看到抽象构成，随后才从少量特征中辨认出原照片的主题。输出一张独立插画。不要生成照片对照、上下分屏、标题、文字、Logo、水印、色卡、装饰边框或海报排版元素。