Instructions to convert uploaded images into photoreal and thick-painted isometric art

Please turn each photo I upload into a separate high-end design poster — no multi-image collages; output each photo individually. Use an overall 3:4 portrait composition, with the top and bottom regions strictly 1:1 in height, each occupying 50% of the frame.

The upper half should retain the original photo, preserving the subject’s structure, realistic texture, natural light and shadow, and original color atmosphere. Apply only subtle high-end photographic color grading so it reads like editorial photography, independent publishing, or exhibition photography. To fit the canvas, you may naturally extend sky, ground, or environmental background, but do not stretch, distort, or alter the subject.

The lower half should extract the photo’s most identifiable **subject, silhouette, pose, and narrative relationship** and reconstruct them as a refined thick-painted micro-landscape following **isometric / axonometric 3D spatial logic**. The subject must not be a flat illustration: it should be a volumetric, scaled-down three-dimensional entity with clear mass, structure, foreground/background relationships, and a stable footprint. Preserve the subject’s most crucial identity features; you may tidy up viewpoint and proportions so the subject reads more complete, clear, and sculptural within a unified isometric space.

The subject should sit on a thematic color field formed by thick paint. The color block should not be a plain rectangle background but should be transformed, according to the original image content, into water, ground, road, grass, a band of light, shoreline, shadow, or another space-slice related to the subject, and should naturally extend along the isometric perspective direction. The subject must have a real spatial relationship with the color block: it may land on, be embedded in, pass through, extend from, reflect in, create ripples on, cast a shadow on, or partially overflow the color block, so that two-dimensional impasto brushwork and the three-dimensional subject connect cleverly.

Compose adaptively according to the subject’s volume, orientation, and direction of motion, establishing professional spatial order with **oblique isometric axes, a stable center of gravity, fore-and-aft depth, and large areas of negative space**. The subject should usually sit at a key node of the color block rather than being mechanically centered; the color block should guide sightlines and perspective extension. If necessary, add a group of low-weight clouds, sun, plants, ripples, or abstract natural motifs to create depth layers, but do not create a second visual center.

The painterly language should fuse **miniature three-dimensional model × impasto oil painting × real paper**. Subject details should be refined and volumetric, while the surrounding environment retains obvious palette-knife marks, thick paint build-up, uneven edges, and handcrafted brushwork. Clouds, water, ground, and light may have near-relief paint thickness to produce the tactile illusion of a real model standing on still-wet oil paint.

For color, extract the **brightest, most vivid, and most representative colors of the subject’s spirit** from the top photo and remix them to increase brightness, purity, and vitality. Use abundant clean warm white as breathing space, paired with translucent main colors and a few warm, sunlight-like accent points. The overall look should be bright, uplifting, fresh, and high-end — avoid muddy, dull, Morandi-like, fluorescent, or cheap candy colors.

Introduce only minimal text: distill a short title from the photo’s subject, place, mood, or symbolism, and optionally add a very small subtitle, numbering, or micro-note. Typography should be delicate and restrained, and may align with the isometric direction, the edges of the impasto color block, or areas of negative space, responding to the spatial perspective rather than being pasted onto the image as an independent label.

Overall visual relationship: **isometric three-dimensional subject × thick-painted color field × bright, uplifting palette × real paper × large negative space**. Whether the subject is an architecture, person, animal, plant, object, vehicle, or natural scene, make the three-dimensional subject genuinely “stand, grow, or exist” on thick-painted color-block space. Avoid flat texture mapping, ordinary illustration, plastic CG, toy-model feeling, and templated micro-landscapes.

Input images

Summary

Upload a single photo you want to convert and copy & paste this prompt as-is to run it. (If converting a photo of a person, set the tool to strictly preserve identity so that facial features and identity do not change before running.)