Rebus-Style Visual Poetry Poster

Please turn each photo I upload into an individual high-end design poster, rather than a collage of multiple photos, outputting each photo separately. The overall composition should be a 3:4 vertical layout, with the top and bottom areas strictly maintaining a 1:1 height ratio, each occupying 50% of the frame. The upper half should retain the original photo, preserving the identity of the subject, structure, posture, authentic texture, natural lighting, and original color atmosphere, with only slight high-end color grading to give it the texture of an art magazine, independent publication, or exhibition image. The background can be naturally extended to fit the aspect ratio, but the subject must not be stretched, distorted, or changed. The lower half should not be a complete replica of the photo, nor a simple downsized redrawing of it. Instead, it should extract the most memorable subjects, actions, partial outlines, objects, plants, architectural fragments, color relationships, and symbolic details from the original image, re-refining them into several visual elements converted into a unified style. These elements, combined with text, will form a Rebus-style visual sentence. These images are not decorative illustrations; they must truly replace words in the sentence. Once a word is replaced by an image, the word must not be written in text again. The entire sentence must rely on the combination of 'text + images' to be fully understood. First, generate a short, imaginative, and slightly poetic or editorial sentence based on the photo's mood, action, relationships, location, memory, or metaphor. Then, select several nouns, action words, imagery words, or emotion words from the sentence that are best suited for visualization and replace them directly with corresponding image elements. For example, flowers, windows, birds, trees, cups, the sea, wind, lamps, roads, waiting, passing, returning, and early morning can all be represented by visual elements derived from the original photo. The images must occupy the original position of the words, forming a truly continuous 'text → image-word → text → image-word → text' reading logic, rather than just small drawings decorating a complete sentence. Each replaced 'visual word' should be placed within an independent, small colored block background, like a small fragment cut from the memory of the original photo. Each block can have different sizes, aspect ratios, and cropping styles—nearly square, horizontal strips, vertical blocks, or small irregular cutouts. The blocks do not need to be uniform in size but must have a clear rhythm and hierarchy. The images within these blocks are not screenshots of the original photo but artistic fragments redrawn in a unified visual language, retaining only the most recognizable outlines, actions, structures, and essence. They can be partially cropped, showing only a portion, or naturally extend beyond the block's edges, making them look more like a meaningful visual word rather than a standard illustration. These visual elements should overall adopt a unified modern hand-drawn editorial illustration style: reconstructing original elements through simplified outlines, generalized forms, a few flat color blocks, and a slight handmade feel, avoiding excessive realism, complex volumes, photographic textures, and mechanical reproduction. The images should retain the soul and recognizability of the original subject but not strive for complete depiction, feeling more like refined visual memories. The style should be light, clever, design-oriented, and reminiscent of art publications, ensuring all image-words are unified and harmonious. The color block backgrounds behind each visual word should follow a 'fresh, bright, and eye-pleasing' soft color logic, though each block can have a different color. Colors should be extracted from the brightest, most vibrant, and most vital colors in the upper photo and then retuned, rather than simply taking an average. Increase the overall brightness and color purity to create a softer, lighter, and more approachable color palette, naturally expressing hues like milk blue, lake cyan, mint green, sprout green, cream yellow, peach pink, cherry blossom pink, apricot orange, and lavender purple. There can be slight shifts between blocks, but the overall look must be unified, comfortable, transparent, and clean, conveying a relaxed, pleasant, healing, slightly feminine, and 'Instagram-style' aesthetic. Avoid dirty grays, dark tones, aged effects, heavy Morandi palettes, fluorescent colors, cheap candy-like vibes, and excessive contrast. The composition should be organized around the 'reading path of the sentence,' making the bottom half look like a page of a visual poem. Text and image-words can be spread across 2–4 lines; absolute alignment is not required, but there must be a clear, elegant, and natural reading rhythm. The size of the image-words should vary according to their semantic importance: some may be the size of a regular word, while others can be slightly larger to act as visual focal points. Use varying heights, density, slight offsets, white space, and baseline rhythm between text, image-words, and color blocks to create an asymmetrical but stable editorial layout. Avoid sticker-wall, card-list, regular grid, or messy collage appearances. The bottom half should retain a significant amount of white space, allowing the void itself to become an essential part of the breath, rhythm, and sophisticated feel. The background should be near-white, off-white, or an extremely light shade that intelligently coordinates with the overall color temperature of the original photo, remaining clean, quiet, and transparent. All image-words, text, and color blocks should appear suspended within ample white space, making the layout resemble an art magazine, independent publication, visual poem page, or experimental graphic work rather than a commercial poster template. There is no restriction on the language of the text; you may freely choose Chinese, English, bilingual, or any language that suits the atmosphere of the photo, provided the content is concise, natural, and imaginative. Avoid common commercial headline fonts; instead, use light, fresh, delicate, and thin fonts with a modern editorial feel and a slight humanistic touch. Character spacing should be naturally relaxed with plenty of white space and a restrained yet dynamic layout. Slight offsets, line breaks, and rhythmic changes are allowed so that the text and image-words coexist as equals, jointly forming the image rather than one dominating the other. The overall visual effect should be: the top half is the realistic image, and the bottom half is a visual sentence composed of 'text + image-words + color blocks.' It should look like an emotional short poem, a memory fragment, or a visual metaphor extracted from the original photo, reorganized into a light, clever, fresh, healing, modern, and design-forward piece of art. The focus is not on describing what is in the photo, but on translating the photo's most moving elements into a graphic language that can be both read and viewed. Avoid: directly using original photo crops as visual words, treating images merely as decorative illustrations next to text, including images without deleting the corresponding words in the sentence, sticker-wall aesthetics, card-grid layouts, commercial template styles, information-stream layouts, e-commerce vibes, childlike collage feels, messy disorder, muddy colors, cheap candy colors, excessive realism, complex backgrounds, mechanical fonts, and crowded layouts lacking white space.