照片/水墨上下對開：Split-Frame Ink Wash 完整配方

提示詞

Split-Frame Ink Wash Reconstruction
3:4 vertical composition · photo / ink wash split · contemporary Eastern aesthetic
The image is in a 3:4 vertical composition, divided into two regions, with a strict 1:1 ratio, each taking up 50% of the image.
Upper Region — Original Photo Shoot Area
Preserves the subject's identity, structure, perspective, and true material, natural light, and original color atmosphere, with only slight high-end color grading and image purification, presenting it with the texture of art magazines or exhibition photography. It allows for a moderate expansion of the background to fit the screen size, but does not stretch, distort, or reshape the subject, without changing the subject's structure, posture, and core composition.
Lower Region — Minimalist Ink Wash Reconstruction Area
First, refine the subject with the most memorable details, such as the outline, structure, trend, perspective, rhythm, and atmosphere, and then reconstruct the same scene into a minimalist ink wash material landscape. Do not copy the photo details, do not make a realistic copy, only preserve the most recognizable structure and charm, allowing people to recognize the corresponding relationship between the upper region and the original photo at first glance.
The overall base of the lower half is milky white, warm white or paper white, with delicate paper fiber and natural texture. The main body is reconstructed in ink wash blending, dry-wet interplay, flying white, seepage, ink accumulation, and white space, forming a quiet, restrained, and poetic Eastern visual. Removing secondary details, only retaining the most distinctive contours, structural turns, spatial layers, and breath, not pursuing realistic completeness, but rather summarizing, refining, and leaving a lingering impression. The use of ink in black, gray, and light ink tones, layered and progressing, with varying intensities and rhythms.
The most vibrant colors can be extracted from the original image to create a few spots of dyeing or coloring, without mechanically replicating the color values. The colors can be transformed locally into clear blue-gray, distant blue, soft gold, warm yellow, vermilion red, light cyan, etc., to emphasize the main focus and emotional rhythm, but the overall composition is still dominated by ink tones and negative space. Avoiding dull, heavy, old brown, excessive decoration, and vulgar color combinations.
The main core areas should be more refined and concentrated, with edges gradually loosening, breaking away, disappearing, and scattering, forming a sense of breathing with the large negative space. The lower half of the composition should account for about 30%–45%, with the rest reserved for large negative spaces. The composition can be biased, framed, suspended, or slightly cut, but must maintain an asymmetrical balance and a high-end editorial feel. Negative space is not blank, but an important component of the visual structure. It is better to reduce information than to fill the entire image, so that the main focus looks like an ink seal or an oriental material work displayed on a page.
Text Treatment
Text is only allowed a very small amount of editing intervention, without preset titles and numbers. A small number of words or short sentences can be extracted from the subject, location, time, action, emotion, or metaphor, and quietly placed in the blank area or the edge of the subject. The text should be restrained, sparse, and have a sense of breathing, not noisy or dominant.
Overall Presentation
Contemporary Eastern aesthetics, minimalist ink wash reconstruction, large-scale art blank, small-scale seal impression, quiet editing layout and exhibition poster style. Avoid complex backgrounds, piled-up real details, overly decorative, excessive text, template layout and filled composition.

生成：GPT Image 2.5 / ChatGPT Images 2.5

中文翻譯

分屏水墨重構
3:4 豎構圖 · 照片 / 水墨分屏 · 當代東方美學
畫面爲 3:4 豎構圖，分爲兩個區域，嚴格按 1:1 比例，各佔畫面的 50%。
上半區 — 原始攝影拍攝區
保留主體的身份、結構、透視與真實材質、自然光以及原有的色彩氛圍，僅做輕微的高端調色與畫面淨化，使其呈現出藝術雜誌或展覽攝影的質感。允許爲適配畫幅適度擴展背景，但不得拉伸、變形或重塑主體，不得改變主體的結構、姿態與核心構圖。
下半區 — 極簡水墨重構區
首先，用最具記憶點的細節提煉主體，例如輪廓、結構、走勢、透視、節奏與氛圍，然後把同一場景重構成一幅極簡的水墨質感山水。不要複製照片細節，不要做寫實復刻，只保留最具辨識度的結構與韻味，讓人一眼就能看出上半區與原始照片之間的對應關係。
下半部分的整體底色爲乳白、暖白或紙白，帶有細膩的紙纖維與自然肌理。主體以水墨暈染、乾溼交融、飛白、滲化、積墨與留白重構，形成安靜、剋制、富有詩意的東方視覺。去除次要細節，只保留最鮮明的輪廓、結構轉折、空間層次與呼吸感，不追求寫實的完整，而是概括、提煉，留下餘韻。墨色以黑、灰與淡墨爲主，層層疊加、逐級推進，濃淡與節奏富於變化。
可從原圖中提取最鮮活的顏色，做成少量點染或上色，但不要機械複製色值。顏色可在局部轉化爲清透的青灰、遠山藍、柔金、暖黃、硃砂紅、淡青等，用以強調主體焦點與情緒節奏，但整體畫面仍以墨色與留白爲主導。避免沉悶、厚重、陳舊的褐色，避免過度裝飾與俗氣的配色。
主體核心區域應更精緻、更凝練，邊緣逐漸鬆動、脫離、消散、散開，與大面積留白共同形成呼吸感。構圖的下半部分約佔 30%–45%，其餘留作大面積負空間。構圖可以偏心、加框、懸置或輕微裁切，但必須保持非對稱的平衡與高端的編輯感。留白不是空白，而是畫面結構的重要組成部分。寧可減少信息，也不要把整張畫面填滿，讓主體看起來像一枚墨印，或一件陳列於頁面上的東方質感作品。
文字處理
文字只允許極輕微的編輯介入，不設預設標題與數字。可從主體、地點、時間、動作、情緒或隱喻中提取少量詞語或短句，安靜地放置在空白處或主體邊緣。文字應剋制、稀疏、有呼吸感，不喧鬧、不主導。
整體呈現
當代東方美學，極簡水墨重構，大面積藝術留白，小面積印章感，安靜的編輯版式與展覽海報風格。避免複雜背景、堆砌的真實細節、過度裝飾、過量文字、模板化版式以及填滿的構圖。

生成：GPT Image 2.5 / ChatGPT Images 2.5

溯源

原作者

harboriis

發佈日期

2026-09-29

原始出處

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收錄來源

xianyu110/awesome-gpt-image2.5 · 2104799948072161492 · MIT