git:20260909.d000cc1 to git:20260911.7a8ae03

- Transform a user-supplied photograph into a Press-Print image: a source-aware contemporary editorial print

- reconstruction using selective photography, visible halftone or duotone treatment, strongly flattened graphic

- fields, tactile torn-paper collage, modernist hierarchy, and print texture. Use when the user asks for

- Press-Print, editorial print reconstruction, halftone collage, print-modernist image transformation, or wants

- a photo rebuilt into a bold non-photographic printed composition. Preserve semantic identity, source-defining

- structural anchors, and source text when it materially contributes to scene identity. By default, add zero new

- text. If the user explicitly supplies exact text, add only that exact wording. Never translate source text, create

- bilingual duplicates, or invent replacement text, filler copy, captions, pseudo-text, or typography. v1.0.2.

- # Press-Print

-

- Press-Print is a source-aware visual reconstruction system for transforming photographs into contemporary print-driven compositions.

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- Its governing principle is:

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- > Preserve semantic identity, not visual completeness.

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- Treat the source photograph as evidence and raw material, not as a finished composition that merely needs a filter.

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- A second governing rule applies whenever text is visible in the source:

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- > Source text is content. New typography is generation.

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- Existing source text may be selectively retained when it contributes to scene identity. Unless the user explicitly supplies exact new wording, generated typography is outside the Press-Print v1.0.2 system.

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- ## Use this skill when

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- Use Press-Print when the user wants a supplied image transformed into a bold, graphic, layered, printed composition with a clearly non-photographic result.

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- Typical source categories include:

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- - cities and streets

- - architecture

- - transport and infrastructure

- - landscape

- - public interiors

- - retail environments

- - people and performance

- - objects and cultural artifacts

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- ## Do not use this skill when

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- Do not use Press-Print when the user's primary goal is:

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- - photorealistic enhancement

- - faithful restoration

- - subtle color grading

- - watercolor or painterly conversion

- - generic vector illustration

- - typography-led poster design

- - event, exhibition, campaign, or promotional poster design

- - headline/date/body-copy driven editorial layout

- - general graphic design from scratch

- - historical or antique imitation

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- When Press-Print is explicitly invoked for an out-of-scope typography-led task, do not silently turn it into a general poster-design tool. If a source photograph is present, offer the supported alternative: reconstruct the photograph and, if requested, add only the user's exact wording without generating any other copy.

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- ## Source text policy

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- Before generating, inspect the source for visible text and classify it by role.

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- ### Default rule

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- If the user does not explicitly request added text, do not add any text that is not already present in the source image.

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- If the source contains no detectable text and the user does not explicitly request text, the output must contain zero text.

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- If the source contains text and the user does not explicitly request new text:

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- - only source-derived text may appear

- - source text may be retained, cropped, obscured, fragmented, reduced, or partially suppressed

- - no new words, letters, numbers, captions, labels, slogans, filler copy, editorial side notes, metadata, or pseudo-text may be introduced

-

- ### A. Incidental text

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- Examples include distant advertising, tiny labels, background copy, or text that is not important to scene identity.

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- It may be:

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- - cropped

- - obscured

- - simplified

- - reduced into texture

- - left partially unreadable inside a retained photographic fragment

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- Exact preservation is not required.

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- ### B. Scene-identifying text

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- Examples include station signage, road signs, storefront names, directional labels, entrance signs, or location markers that help identify the scene.

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- Prefer to retain this text as part of source imagery when feasible.

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- Do not translate, rewrite, duplicate, enlarge, promote it into a new design element, or add a second-language equivalent.

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- ### C. Identity-critical text

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- Examples include a primary station name, brand name, book title, artwork title, major wayfinding label, or other wording whose exact identity materially matters.

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- Preserve its original language, wording, spelling, and semantic role whenever feasible.

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- Treat it as protected image content, not editable typography.

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- ### D. Text-dominant source

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- Examples include posters, menus, magazine covers, packaging fronts, book covers, or signage where typography occupies a large part of the source.

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- Press-Print may crop, partially obscure, layer, or retain the original text as source imagery, but must not redesign the source into a new typography system.

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- Do not newly typeset, translate, rewrite, duplicate, invent, or relocate source text as a fresh headline, caption, label, or body-copy system.

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- ### Text preservation fallback

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- If exact source text cannot be preserved reliably, crop, obscure, simplify, or retain it as photographic texture rather than inventing approximate replacement text.

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- Never replace uncertain source text with guessed wording, misspelled reconstructions, pseudo-text, or invented translations.

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- Do not interpret the word "editorial" as permission to add editorial typography. Press-Print editoriality comes from composition, cropping, hierarchy, image-state contrast, texture, and print treatment.

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- ### Language rule

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- - Preserve source text in its original language.

- - Do not translate source text.

- - Do not create bilingual duplication or a parallel second-language version.

- - If the source is monolingual, keep it monolingual.

- - If the source is already bilingual, it may remain bilingual only in source-derived form.

- - Do not expand, regularize, relocate, or redesign existing bilingual content.

-

- ### High text-density scenes

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- For text-rich environments such as dense commercial streets, rail stations, convenience stores, supermarkets, signage walls, and urban scenes in places such as Tokyo, Hong Kong, or Seoul:

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- - preserve typographic density, not typographic completeness

- - keep only a small number of identity-bearing source texts clearly readable

- - reduce most other source text into cropped fragments, partial signage, halftone, texture, or obscured visual material

- - do not translate monolingual signs or make them bilingual

- - dense source text never grants permission to generate more text

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- ### Text footprint

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- Unless the user explicitly requests larger treatment of the exact text they supplied:

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- - total clearly readable text should usually occupy no more than about 15% of the final image area

- - any single clearly readable text block should usually occupy no more than about 8% of the final image area

- - source text should not become dominant unless the source materially requires it and the user wants that outcome

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- ### User-requested text exception

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- If the user explicitly requests added text:

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- - render only the exact wording explicitly supplied by the user

- - add no extra words, translations, subtitles, labels, dates, captions, or decorative letters

- - do not translate it unless the user explicitly asks for translation

- - do not create a bilingual variant unless the user explicitly requests that exact bilingual text

- - if placement, size, or hierarchy is unspecified, keep the requested text visually controlled within the footprint guidance

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- Example: if the user requests `地铁`, add only `地铁`. Do not add `Metro`, `Subway`, `地铁 / Metro`, `Urban Metro`, or `地铁系统` unless the user explicitly requests that exact wording.

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- This exception does not permit unrelated copy or turn Press-Print into a from-scratch typography generator.

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- ## Core procedure

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- Before generating, analyze the source silently and perform these five operations.

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- ### 1. Identify structural anchors

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- Identify 1 to 3 source-defining structures that make the scene recognizable.

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- Examples:

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- - coastline curve

- - distinctive tower silhouette

- - crossing pattern

- - roofline

- - window grid

- - railway direction

- - tree canopy

- - figure pose

- - row of lanterns

- - shelf rhythm

- - identity-critical source signage

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- Preserve these clearly enough to retain the source identity.

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- Do not confuse transformation with destruction of the source's most distinctive geometry or identity-bearing text.

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- ### 2. Disassemble

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- Break the source into meaningful visual components rather than processing it as one intact image.

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- Possible components include:

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- - main subject

- - background structure

- - skyline

- - architecture

- - people

- - vegetation

- - water

- - roads

- - windows

- - source signage

- - repeated patterns

- - light and shadow masses

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- Complex images will usually support 3 to 7 components. Simpler sources may use fewer. Do not force fragmentation without compositional purpose.

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- ### 3. Recompose

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- Rebuild the components into a new hierarchy.

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- Possible operations:

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- - aggressive crop

- - scale shift

- - partial isolation

- - overlap

- - displacement

- - interrupted continuity

- - selective repetition

- - compressed depth

- - enlarged structural fragment

- - quiet negative-space field

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- The original camera composition must not remain fully intact.

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- Do not turn retained source text into a new headline or typographic focal point merely to make the composition feel designed.

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- ### 4. Reassign visual states

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- Assign different parts of the image to different visual states.

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- **PHOTOGRAPHIC**

- Retain limited recognizable detail where it is valuable, especially when exact source text or identity-bearing detail needs protection.

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- **PRINTED**

- Convert selected regions into halftone, duotone, high-contrast, or offset-print-like treatment.

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- **GRAPHIC**

- Convert selected regions into flat fields, silhouettes, simplified geometry, or abstracted structural forms.

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- **COLLAGED**

- Use cut, layered, torn, shifted, or interrupted fragments when they strengthen hierarchy.

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- Do not apply one uniform treatment to the whole image.

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- ### 5. Reduce and hierarchize

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- Remove, flatten, group, or silence secondary information.

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- The final image should have:

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- - dominant zones

- - secondary zones

- - quiet zones

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- Do not preserve every object, every surface, every edge, or every tonal transition.

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- ## Source-derived graphics rule

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- Graphic intervention should emerge from structures already present in the source whenever possible.

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- Derive shapes from:

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- - architecture

- - coastlines

- - roads

- - windows

- - shadows

- - vegetation

- - railings

- - signs

- - repeated structures

- - clothing or figure silhouettes

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- Do not invent arbitrary circles, suns, triangles, stripes, or decorative blocks merely to make the image feel designed.

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- ## Visual language

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- Aim for:

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- - contemporary editorial print sensibility without unrequested typography

- - an extremely flat arrangement of shapes on a 2D surface

- - strongly compressed space with little to no perspective

- - interlocking foreground, middle-ground, and background planes

- - minimal volumetric modeling and no realistic cast shadows

- - bold asymmetry

- - strong cropping

- - limited color families

- - halftone and duotone contrast

- - matte printed texture

- - controlled collage

- - flat color fields

- - clearly visible, intentionally varied halftone regions

- - tactile torn-paper edges and cut-paper overlaps

- - rough-edged interruptions and visible paper-layer transitions

- - high-contrast hierarchy

- - compressed or interrupted depth

- - active negative space

- - modern rather than nostalgic visual energy

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- ## Color

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- Use roughly 3 to 6 major color families.

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- Prefer a system containing:

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- - one structural dark

- - one light paper-like base

- - one or two strong accents

- - one supporting hue if needed

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- Useful families include deep navy, cobalt, off-white, charcoal, black, vermilion, orange-red, muted turquoise, mustard, muted green, and coral.

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- Reduce the source's photographic color complexity substantially.

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- ## Halftone

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- Halftone must be clearly perceptible and intentional. It is a selective structural tool, not a blanket effect or faint cosmetic noise.

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- Use it to:

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- - flatten selected photographic regions

- - separate layers

- - convert realism into printed information

- - create contrast against clean flat zones

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- Never coat the entire image in the same dot pattern or density.

- Vary dot scale, density, direction, and placement deliberately. Contrast printed regions with clean flat zones.

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- ## Collage

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- Collage must have a stronger tactile torn-paper character while behaving as editorial structure.

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- Every fragment must have a compositional job.

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- Avoid:

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- - scrapbook layouts

- - random stickers

- - decorative fragments with no structural purpose

- - clean corporate rectangles used as generic layout blocks

- - mood-board aesthetics

- Favor visible torn edges, cut-paper overlaps, rough-edged interruptions, pasted-fragment logic, and deliberate paper-layer transitions. Every tear and fragment must support hierarchy, source structure, or spatial compression.

- ## Detail hierarchy

- **Primary zones** may retain the clearest recognition and strongest contrast.

- **Secondary zones** should be grouped, simplified, or partially abstracted.

- **Tertiary zones** may be flattened, cropped, converted to texture, or removed.

- Do not distribute attention evenly.

- ## Lighting and space

- Treat the entire image as a designed 2D surface. Flatten foreground, middle ground, and background into interlocking planes, silhouettes, fragments, halftone regions, and cut-paper structures.

- Replace ordinary photographic realism with graphic tonal organization. Prefer front-facing, near-flat, or simplified top-down viewpoints.

- Prefer:

- - silhouette

- - tonal blocks

- - print density

- - flat light-dark separation

- - selective highlights

- - compressed depth

- - layered planes

- Avoid strong realistic perspective, deep spatial recession, cinematic depth, volumetric modeling, soft atmospheric depth, realistic lighting, and realistic cast shadows.

- The image should function first as a designed surface and second as a record of physical space.

- ## Hard constraints

- - If the user does not explicitly request added text, generate no new text or typography.

- - No pseudo-text, filler copy, decorative letters, labels, captions, dates, slogans, metadata, or new words/numbers.

- - Preserve source text selectively when it materially contributes to scene identity.

- - Never translate, rewrite, duplicate, enlarge, restyle, add a second-language equivalent to, or promote source text into a new headline or editorial element.

- - Preserve monolingual source text as monolingual; existing bilingual content may remain only in source-derived form.

- - If the user explicitly requests text, render only the exact requested wording and nothing else.

- - Keep readable text within the 15% total / 8% per-block guidance unless the user explicitly requests larger treatment of their exact supplied text.

- - If source text cannot be reproduced reliably, obscure or crop it rather than hallucinating a replacement.

- - Preserve the original aspect ratio unless the user requests another.

- - Do not leave the source photograph intact.

- - Do not reduce the whole image to one uniform vector treatment.

- - Do not use blanket halftone.

- - Do not fake antique paper, sepia history, or nostalgia for its own sake.

- - Do not introduce arbitrary decorative geometry without a source-derived reason.

- - Do not destroy source-defining structural anchors.

- ## Failure test

- The transformation has failed if it looks like:

- - the original photograph plus a print filter

- - generic retro poster art

- - a clean corporate vector illustration

- - a scrapbook collage

- - a muddy all-over halftone

- - a composition whose key source identity has been lost

- - an AI poster dominated by arbitrary circles, suns, stripes, or decorative blocks

- - a composition containing unrequested headlines, captions, labels, filler copy, pseudo-text, or decorative typography

- - source text rewritten, translated, duplicated, enlarged into a headline, or replaced with hallucinated approximations

- - a monolingual source made bilingual or given a translated parallel version

- - user-requested text altered, expanded, translated, or accompanied by additional copy

- - readable text exceeding the controlled footprint without source necessity or an explicit request to enlarge the user's exact supplied text

- ## Success test

- A successful Press-Print result should feel as though a designer disassembled the photograph, retained its most meaningful visual identity, then rebuilt it into a publishable contemporary print-driven image.

- The viewer should recognize what the image is about while clearly seeing that the original photograph no longer remains visually complete.

- Important source text should either remain faithfully embedded in source imagery or be deliberately reduced/obscured rather than regenerated incorrectly.

- Before generating, apply this final check: if the user did not explicitly request added text, allow no new text anywhere—no headlines, captions, labels, letters, words, numbers, pseudo-text, translations, or bilingual duplicates. Empty areas must remain shape, color, texture, source-derived imagery, or negative space. If the user did request text, render only the exact requested wording.

- For the full generation prompt, read `prompt/press-print-v1.md`.

- For evaluation, read `eval/quality-rubric.md`.