Empire State Building Selfie

Ultra-realistic TV broadcast screenshot, identity preserved exactly from reference image. Young woman sitting in the crowd at a Manchester City home soccer match, filmed from far away by a live broadcast camera. She is seated in stadium chairs, slightly leaned back, looking off to the side with a surprised caught-on-camera expression, lips slightly parted. She wears a Manchester City home jersey with jeans, casual match-day styling, relaxed pose, one arm resting on the chair or lap. The jersey should look like a normal full jersey, not a crop top, not rolled up, not tied, Kas. Around her are other fans in stadium seats, slightly blurred. Keep the crowd mixed and natural, some fans wearing Manchester City jerseys, some wearing neutral shirts or jackets, some wearing other casual match-day clothing so it feels like a real live crowd shot and not everyone is dressed the same. Add a realistic scoreboard graphic in the top corner, subtle broadcast compression, digital noise, bright stadium lighting, and imperfect live-TV framing. Telephoto sports camera look from the stands, not close-up, not selfie, not side angle, authentic televised soccer crowd shot, natural skin texture, no smoothing, 4K.

Generate a professional character and a product turnaround sheet of the attached image for feature-film production. Create a complete character and the product reference sheet on a clean white seamless studio background.

Act as a Senior Brand Art Director and Editorial Poster Designer creating a vertical editorial campaign poster where bold typography and photography are unified across a split-layout composition. The poster is deeply rooted in Burger King’s real brand identity — colors, typography character, campaign language, and visual codes drawn from actual Burger King brand materials and campaigns. IMPORTANT LIMITATION: Do not attempt to generate real identifiable people by name. Instead use a realistic figure whose appearance, clothing, and context are entirely consistent with Burger King’s campaign aesthetic — wearing Burger King products visibly, in an environment associated with the brand. ⸻ PHASE 0: BRAND INTELLIGENCE — STRICT BRANDBOOK ACCURACY Perform a complete brand decode of KFC from current public brand materials and documented campaign history. Apply all of the following with maximum fidelity: COLOR SYSTEM — ZERO APPROXIMATION: retrieve the exact official brand colors of KFC as documented in their public brand guidelines and campaign materials. Identify: primary background color — KFC Red / KFC White depending on application, with the current identity centered around classic, food-inspired tones. Primary headline color — KFC Red or deep brown depending on the approved application. Secondary information color — KFC Black. Apply the documented palette accurately and do not substitute generic fast-food colors. The current KFC visual identity uses a deliberately food-centric palette built around Red, White, and Black. TYPOGRAPHY CHARACTER — PRECISE VISUAL DESCRIPTION: identify KFC’s typography as a bold, rounded, highly expressive geometric sans-serif character. Letterforms are friendly, chunky, slightly playful, and organic rather than sterile. Display type should feel substantial, appetizing, youthful, and unmistakably contemporary. The visual character should echo the rounded geometry of the KFC logo, with soft curves, strong weight, compact proportions, and confident headline presence. Supporting typography should remain clean and functional with generous tracking. CAMPAIGN LANGUAGE — REAL SLOGANS ONLY: extract the single most famous, most documented real campaign slogan of KFC. Use “Finger Lickin' Good” as the primary campaign language. It is one of KFC’s most iconic documented advertising slogans, introduced in 1952 and central to the brand’s positioning around deliciousness and enjoyment. Do not invent or paraphrase the slogan. BRAND FACTS: extract real founding year, key event names, real campaign names, product line names, geographic origin city, and documented campaign dates. Use this real data as all informational micro-copy. KFC was founded in 1930 in Corbin, Kentucky. The first KFC franchise opened in 1952 in Salt Lake City, Utah. The “Finger Lickin' Good” slogan was introduced in 1952. Use only documented brand facts. No invented data. ⸻ PHASE 1: LAYOUT ARCHITECTURE Single vertical rectangle — aspect ratio 4:5. Two zones split at approximately 47 to 50% from the left edge. Left zone: pure flat background in KFC’s exact primary campaign background color from PHASE 0. Use the brand’s approved warm off-white / White foundation where appropriate, with KFC Red as the dominant headline color. NOT photography, NOT texture, pure graphic design. Right zone: full-bleed editorial photograph bleeding to right, top, and bottom edges. TYPOGRAPHIC BRIDGE — CRITICAL: the headline type starts in the left zone and physically crosses the split line continuing over the photograph. Type appears simultaneously on the brand background AND over the photo. The largest headline line crosses the split most dramatically — it spans the full width of the poster. This bridge unifies the two zones into one composition. ⸻ PHASE 2: HEADLINE TYPOGRAPHY Real KFC campaign slogan from PHASE 0 broken into 2 to 3 lines. Typography character matches the visual description from PHASE 0 — bold, rounded, chunky geometric sans-serif with playful, organic curves. Line 1: medium-large, starts in left zone, crosses into right zone over the photo. Uppercase or authentic campaign capitalization. Primary headline color. Line 2: maximum size — 35 to 45% of total poster height. The single most dominant visual element of the entire poster. May bleed slightly off the left edge — leftmost letter partially cropped. Crosses the split line fully, spanning both zones. Primary headline color. Line 3: large, ends with asterisk or registered trademark symbol as graphic accent. Primary headline color. All lines left-aligned. Flat color, full opacity. No shadows, no outlines, no gradients, no effects. Type sits directly over the photograph at full opacity where it crosses into the right zone. Use the real KFC slogan exactly: “FINGER LICKIN' GOOD®” The typography should feel playful, bold, hungry, and unmistakably KFC rather than like generic fast-food advertising. ⸻ PHASE 3: INFORMATIONAL MICRO-TYPOGRAPHY Small-scale type set in the same typographic character as the headline but regular weight. Small size, generous tracking. Secondary information color from PHASE 0. Cluster 1 — brand event details: three label-value pairs stacked with real KFC data. Format: “EVENT” left-aligned, real event name right-aligned. “DATE” left-aligned, real campaign date right-aligned. “LOCATION” left-aligned, real city and country right-aligned. “EVENT” — “FIRST KFC FRANCHISE” “DATE” — “1952” “LOCATION” — “SALT LAKE CITY, UTAH” Cluster 2 — CTA: a short directional phrase in small caps with tracking — “TASTE THE ORIGINAL →” or similar. Positioned below Cluster 1 with clear spacing. Both clusters positioned in the breathing space between headline lines in the left zone — they occupy the open area between Line 1 and Line 3. ⸻ PHASE 4: CORNER ELEMENTS Bottom left corner: three-line brand attribution block — founding year, brand name in the brand’s logotype style, geographic origin city: “1930 / KFC® / CORBIN, KENTUCKY” Small type, left-aligned. If KFC has a recognizable wordmark — render the wordmark in its correct typographic style at this position without altering, distorting, recoloring, or changing its proportions. Preserve the authentic KFC logo geometry. Top right corner over photo: small cluster of campaign name, date, and location. Small type, right-aligned, secondary information color. Bottom right corner over photo: same campaign/date/location information repeated. Right-aligned, slightly larger than top right cluster. Large numeral accent: a typographically significant number “52” positioned upper right in the photo zone — representing the year the first KFC franchise opened. Size: 15 to 20% of poster height. Primary headline color at 85% opacity. Below the numeral: the word “SINCE” followed by the full founding year — “SINCE 1930” — small caps, tracked out, secondary information color. ⸻ PHASE 5: PHOTOGRAPHY A realistic figure — not a named real person — whose appearance and context are entirely consistent with KFC’s visual world. The figure is wearing KFC products visibly and recognizably. The environment is authentic to the brand’s cultural positioning: contemporary KFC restaurant architecture, modern urban storefront, drive-through environment, casual dining space, or an everyday social environment associated with KFC. Photographic style: editorial, naturalistic, warm commercial food photography. Rich but realistic food tones, natural skin texture, tactile toasted bun surfaces, realistic melted cheese, crisp lettuce, flame-grilled patty texture, controlled depth of field, warm restaurant lighting, and premium contemporary advertising finish. Not stock photography. The figure is positioned slightly left of center within the photo zone, facing slightly away from camera or in profile — creating the characteristic editorial non-confrontational pose. The figure should feel naturally engaged in a genuine KFC moment rather than posing for a generic fast-food advertisement. The figure is visibly interacting with an authentic KFC product, preferably fried chicken, with recognizable KFC packaging subtly integrated into the environment. Food should look freshly prepared, tactile, juicy, and photorealistic without becoming an isolated product shot. The headline type from PHASE 2 overlaps the figure’s body where it crosses into the right zone. The visual atmosphere should communicate KFC’s core ideas of deliciousness, tradition, indulgence, individuality, humor, and confident self-expression. ⸻ PHASE 6: COMPOSITION PRINCIPLES Hard vertical split line — precise, no feathering, no blend, no gradient transition. Left zone is pure graphic. Right zone is photography. They meet at an exact vertical cut. Typography hierarchy: Line 2 maximum > Line 3 > Line 1 > Large numeral > Corner elements > Micro clusters. Visual flow: large type enters from left → crosses into photo → numeral accent upper right → corner information → figure. Left zone negative space: generous — micro-typography clusters are small relative to the zone. The warm KFC background breathes around the type. Use KFC’s rounded, playful, food-inspired visual language without filling the graphic zone with unnecessary chicken illustrations, ingredient collages, patterns, textures, or decorative graphics. The composition should communicate individuality, customization, appetite, warmth, nostalgia, and contemporary cultural relevance while remaining sophisticated and editorial. ⸻ PHASE 7: TECH SPECS Aspect ratio: 4:5, single flat image. Typography: crisp, anti-aliased, flat color — zero shadows, zero outlines, zero gradients on type. Typography character strictly matches the visual description from PHASE 0 — bold, rounded, chunky geometric sans-serif with organic curves and playful personality. Color palette: exactly the three primary colors identified in PHASE 0 — KFC Red, White, and Black. Supporting colors may appear only where authentically required by the photographic environment or approved brand system. Zero gradients. Zero textures in the graphic zone. Photography: editorial quality, naturalistic fictional figure, authentic KFC environment, recognizable KFC food and packaging, realistic food textures, natural skin, controlled commercial lighting, warm contemporary color grade. Do not create a named celebrity or identifiable real person. Do not invent slogans, campaigns, dates, events, products, or historical facts. Do not distort or redesign the KFC logo or wordmark. Do not create generic fast-food branding that conflicts with KFC’s visual identity. Output feel: this poster is published as a KFC campaign hero visual on the brand’s official website, as a premium 4:5 social campaign visual, as vertical outdoor advertising, or as a contemporary full-page editorial spread in Vogue, GQ, Hypebeast, or Highsnobiety. The final image must feel unmistakably KFC — bold, warm, playful, indulgent, crispy, individualistic, nostalgic, and culturally confident — while preserving the exact split-layout system and typographic bridge established throughout this brief.

Act as a Senior Brand Art Director and Editorial Poster Designer creating a vertical editorial campaign poster where bold typography and photography are unified across a split-layout composition. The poster is deeply rooted in Burger King’s real brand identity — colors, typography character, campaign language, and visual codes drawn from actual Burger King brand materials and campaigns. IMPORTANT LIMITATION: Do not attempt to generate real identifiable people by name. Instead use a realistic figure whose appearance, clothing, and context are entirely consistent with Burger King’s campaign aesthetic — wearing Burger King products visibly, in an environment associated with the brand. ⸻ PHASE 0: BRAND INTELLIGENCE — STRICT BRANDBOOK ACCURACY Perform a complete brand decode of Subway from current public brand materials and documented campaign history. Apply all of the following with maximum fidelity: COLOR SYSTEM — ZERO APPROXIMATION: retrieve the exact official brand colors of Subway as documented in their public brand guidelines and campaign materials. Identify: primary background color — Subway Green / Subway Yellow depending on application, with the current identity centered around fresh, food-inspired tones. Primary headline color — Subway Green or deep brown depending on the approved application. Secondary information color — Subway Brown. Apply the documented palette accurately and do not substitute generic fast-food colors. The current Subway visual identity uses a deliberately food-centric palette built around Green, Yellow, and White. TYPOGRAPHY CHARACTER — PRECISE VISUAL DESCRIPTION: identify Subway’s typography as a bold, rounded, highly expressive geometric sans-serif character. Letterforms are friendly, chunky, slightly playful, and organic rather than sterile. Display type should feel substantial, appetizing, youthful, and unmistakably contemporary. The visual character should echo the rounded geometry of the Subway logo, with soft curves, strong weight, compact proportions, and confident headline presence. Supporting typography should remain clean and functional with generous tracking. CAMPAIGN LANGUAGE — REAL SLOGANS ONLY: extract the single most famous, most documented real campaign slogan of Subway. Use “Eat Fresh Refresh” as the primary campaign language. It is one of Subway’s most iconic documented advertising slogans, introduced in 2021 and central to the brand’s positioning around freshness and revitalization. Do not invent or paraphrase the slogan. BRAND FACTS: extract real founding year, key event names, real campaign names, product line names, geographic origin city, and documented campaign dates. Use this real data as all informational micro-copy. Subway was founded in 1965 in Bridgeport, Connecticut. The “Eat Fresh Refresh” campaign was introduced in 2021. Use only documented brand facts. No invented data. ⸻ PHASE 1: LAYOUT ARCHITECTURE Single vertical rectangle — aspect ratio 4:5. Two zones split at approximately 47 to 50% from the left edge. Left zone: pure flat background in Subway’s exact primary campaign background color from PHASE 0. Use the brand’s approved warm off-white / White foundation where appropriate, with Subway Green as the dominant headline color. NOT photography, NOT texture, pure graphic design. Right zone: full-bleed editorial photograph bleeding to right, top, and bottom edges. TYPOGRAPHIC BRIDGE — CRITICAL: the headline type starts in the left zone and physically crosses the split line continuing over the photograph. Type appears simultaneously on the brand background AND over the photo. The largest headline line crosses the split most dramatically — it spans the full width of the poster. This bridge unifies the two zones into one composition. ⸻ PHASE 2: HEADLINE TYPOGRAPHY Real Subway campaign slogan from PHASE 0 broken into 2 to 3 lines. Typography character matches the visual description from PHASE 0 — bold, rounded, chunky geometric sans-serif with playful, organic curves. Line 1: medium-large, starts in left zone, crosses into right zone over the photo. Uppercase or authentic campaign capitalization. Primary headline color. Line 2: maximum size — 35 to 45% of total poster height. The single most dominant visual element of the entire poster. May bleed slightly off the left edge — leftmost letter partially cropped. Crosses the split line fully, spanning both zones. Primary headline color. Line 3: large, ends with asterisk or registered trademark symbol as graphic accent. Primary headline color. All lines left-aligned. Flat color, full opacity. No shadows, no outlines, no gradients, no effects. Type sits directly over the photograph at full opacity where it crosses into the right zone. Use the real Subway slogan exactly: “EAT FRESH REFRESH®” The typography should feel playful, bold, hungry, and unmistakably Subway rather than like generic fast-food advertising. ⸻ PHASE 3: INFORMATIONAL MICRO-TYPOGRAPHY Small-scale type set in the same typographic character as the headline but regular weight. Small size, generous tracking. Secondary information color from PHASE 0. Cluster 1 — brand event details: three label-value pairs stacked with real Subway data. Format: “EVENT” left-aligned, real event name right-aligned. “DATE” left-aligned, real campaign date right-aligned. “LOCATION” left-aligned, real city and country right-aligned. “EVENT” — “EAT FRESH REFRESH” “DATE” — “2021” “LOCATION” — “BRIDGEPORT, CONNECTICUT” Cluster 2 — CTA: a short directional phrase in small caps with tracking — “BUILD YOUR SUB →” or similar. Positioned below Cluster 1 with clear spacing. Both clusters positioned in the breathing space between headline lines in the left zone — they occupy the open area between Line 1 and Line 3. ⸻ PHASE 4: CORNER ELEMENTS Bottom left corner: three-line brand attribution block — founding year, brand name in the brand’s logotype style, geographic origin city: “1965 / SUBWAY® / BRIDGEPORT, CONNECTICUT” Small type, left-aligned. If Subway has a recognizable wordmark — render the wordmark in its correct typographic style at this position without altering, distorting, recoloring, or changing its proportions. Preserve the authentic Subway logo geometry. Top right corner over photo: small cluster of campaign name, date, and location. Small type, right-aligned, secondary information color. Bottom right corner over photo: same campaign/date/location information repeated. Right-aligned, slightly larger than top right cluster. Large numeral accent: a typographically significant number “65” positioned upper right in the photo zone — representing the year Subway was founded. Size: 15 to 20% of poster height. Primary headline color at 85% opacity. Below the numeral: the word “SINCE” followed by the full founding year — “SINCE 1965” — small caps, tracked out, secondary information color. ⸻ PHASE 5: PHOTOGRAPHY A realistic figure — not a named real person — whose appearance and context are entirely consistent with Subway’s visual world. The figure is wearing Subway products visibly and recognizably. The environment is authentic to the brand’s cultural positioning: contemporary Subway restaurant architecture, modern urban storefront, drive-through environment, casual dining space, or an everyday social environment associated with Subway. Photographic style: editorial, naturalistic, warm commercial food photography. Rich but realistic food tones, natural skin texture, tactile toasted bun surfaces, realistic melted cheese, crisp lettuce, flame-grilled patty texture, controlled depth of field, warm restaurant lighting, and premium contemporary advertising finish. Not stock photography. The figure is positioned slightly left of center within the photo zone, facing slightly away from camera or in profile — creating the characteristic editorial non-confrontational pose. The figure should feel naturally engaged in a genuine Subway moment rather than posing for a generic fast-food advertisement. The figure is visibly interacting with an authentic Subway product, preferably a sub sandwich, with recognizable Subway packaging subtly integrated into the environment. Food should look freshly prepared, tactile, juicy, and photorealistic without becoming an isolated product shot. The headline type from PHASE 2 overlaps the figure’s body where it crosses into the right zone. The visual atmosphere should communicate Subway’s core ideas of customization, freshness, indulgence, individuality, humor, and confident self-expression. ⸻ PHASE 6: COMPOSITION PRINCIPLES Hard vertical split line — precise, no feathering, no blend, no gradient transition. Left zone is pure graphic. Right zone is photography. They meet at an exact vertical cut. Typography hierarchy: Line 2 maximum > Line 3 > Line 1 > Large numeral > Corner elements > Micro clusters. Visual flow: large type enters from left → crosses into photo → numeral accent upper right → corner information → figure. Left zone negative space: generous — micro-typography clusters are small relative to the zone. The warm Subway background breathes around the type. Use Subway’s rounded, playful, food-inspired visual language without filling the graphic zone with unnecessary sub illustrations, ingredient collages, patterns, textures, or decorative graphics. The composition should communicate individuality, customization, appetite, warmth, nostalgia, and contemporary cultural relevance while remaining sophisticated and editorial. ⸻ PHASE 7: TECH SPECS Aspect ratio: 4:5, single flat image. Typography: crisp, anti-aliased, flat color — zero shadows, zero outlines, zero gradients on type. Typography character strictly matches the visual description from PHASE 0 — bold, rounded, chunky geometric sans-serif with organic curves and playful personality. Color palette: exactly the three primary colors identified in PHASE 0 — Subway Green, Subway Yellow, and White. Supporting colors may appear only where authentically required by the photographic environment or approved brand system. Zero gradients. Zero textures in the graphic zone. Photography: editorial quality, naturalistic fictional figure, authentic Subway environment, recognizable Subway food and packaging, realistic food textures, natural skin, controlled commercial lighting, warm contemporary color grade. Do not create a named celebrity or identifiable real person. Do not invent slogans, campaigns, dates, events, products, or historical facts. Do not distort or redesign the Subway logo or wordmark. Do not create generic fast-food branding that conflicts with Subway’s visual identity. Output feel: this poster is published as a Subway campaign hero visual on the brand’s official website, as a premium 4:5 social campaign visual, as vertical outdoor advertising, or as a contemporary full-page editorial spread in Vogue, GQ, Hypebeast, or Highsnobiety. The final image must feel unmistakably Subway — bold, warm, playful, indulgent, fresh, individualistic, nostalgic, and culturally confident — while preserving the exact split-layout system and typographic bridge established throughout this brief.

Create a highly realistic studio photograph of a single natural stone monolith with the exact logo from IMAGE 1 shallowly carved into its front surface. IMAGE 1 = exact logo source. Preserve the overall logo shape, proportions and spacing exactly. IMAGE 2 = inspiration and visual reference. Match the smooth dense stone material, primitive carved feel, subtle dirt buildup and realism, but do not copy the exact stone or symbol. Stone color: [INSERT COLOR] The stone should look dense, smooth, compact and naturally weathered, with a relatively flat and smooth front face. Avoid porous, sandy, chalky, hammered, pecked or chisel-struck textures. The front face should feel slightly worn and subtly polished, while the outer sides and edges can remain rougher and more irregular. Carve the logo as a shallow hand-carved engraving into the smooth front face. Preserve the exact overall logo silhouette, but make the engraved edges slightly rounded, softly imperfect, subtly chipped and naturally worn at the micro level. The edges must not look sharp, laser-cut or mechanically precise. The recessed logo area should stand out only moderately from the rest of the stone. If the stone is dark, make the recessed area subtly lighter; if the stone is light, make it subtly darker. Add restrained dust, smudges, slight grime and small lighter worn spots near parts of the inner edges so the logo is more visible, but not artificially contrasted. Do not make the entire stone face look carved with repeated chisel impacts. Only the logo edges should show handcrafted wear. Pure black background. Premium directional studio lighting. Front-facing composition with slight perspective. Photorealistic, high-end artifact photography, 4K, Ultra Quality.

[SOURCE MODE = ATTACHED IMAGE] Create a image 16:9 experimental graphic composition using a recognition-preserving annotated pixel-slice deconstruction system. SOURCE PRIORITY The original source is the dominant master layer. The analytical grid, annotations and pixel-stretch effects are secondary overlays applied around and selectively across the source. Never reconstruct the subject from separate grid fragments. Never turn the source into a collage of disconnected crops. The complete original subject must remain immediately recognizable at first glance before the viewer notices the analytical distortion system. If [SOURCE MODE = ATTACHED IMAGE], use the uploaded image as the sole visual source. Preserve its actual subject, silhouette, proportions, pose, orientation, perspective, internal geometry, colors, material appearance and major recognizable features. If [SOURCE MODE = LOGO], automatically identify the authentic official standalone symbol of [LOGO NAME]. Preserve its canonical silhouette, proportions, curves, stroke relationships, counterforms, internal negative spaces, intersections and component spacing. Do not redesign, simplify or reinterpret the mark. RECOGNIZABILITY LOCK Preserve approximately 60–75% of the visible source as continuous, undistorted imagery. At least one large uninterrupted region must show most of the source in its original spatial arrangement. The viewer must be able to mentally reconstruct the entire source without effort. Protect all identity-critical geometry from destructive distortion: — outer silhouette; — primary junctions; — distinctive corners and curves; — central intersections; — negative spaces; — major directional axes; — defining internal relationships between parts. Do not place heavy pixel stretching across these critical recognition anchors. If distortion would weaken recognition, reduce the distortion rather than modifying the source geometry. The source should remain spatially coherent underneath the graphic system. CORE VISUAL SYSTEM Build an irregular architectural grid of approximately 18–30 rectangular analytical cells around and partially through the source. The grid should feel like an experimental scientific image-analysis interface, dataset annotation sheet and corrupted editorial layout merged into one system. The source remains the hero. The grid must behave like a layer placed over and around an already complete image, not like a structure used to rebuild it. Allow the grid to extend into surrounding negative space, intersect the source at selected locations and isolate small analytical samples from it. Use a few large anchor cells, several medium cells and narrow micro-cells with asymmetric stepped relationships. Most cells should share boundaries or connect structurally. Do not use an even checkerboard. Do not cover the entire source with grid divisions. Do not force every visible part of the source into a separate rectangle. SOURCE CONTINUITY Where grid lines cross the undistorted source, the image underneath must continue seamlessly across adjacent cells. A grid boundary should not automatically create a new crop. The same original object must remain positionally aligned from one cell to the next. Do not shift, rescale, rotate or independently reposition adjacent source fragments. Do not duplicate distinctive parts of the source unless intentionally used as a small analytical sample. The grid is graphic segmentation, not physical fragmentation. PIXEL-SLICE DECONSTRUCTION Apply pixel stretching only to selected secondary cells. Use approximately 20–35% of the grid cells for strong distortion. Sample very narrow strips directly from nearby regions of the source and stretch them across the selected cell. Create: — vertical source slices extended into vertical spectral bands; — horizontal source slices extended into horizontal bands; — compressed local color profiles; — elongated texture streaks; — repeated edge-color information; — smooth raster smear fields derived directly from the source. The distorted sample must remain visually related to the exact neighboring area it was extracted from. Whenever possible, place stretched cells directly beside the intact region they analyze, creating a clear visual relationship between source and sample. Do not replace a large recognizable portion of the source with distortion. Do not stretch the entire object. Do not let distorted cells become more visually dominant than the original source. IMAGE CELL HIERARCHY Use three clear cell types: 1. PRIMARY SOURCE CELLS Large cells containing continuous undistorted portions of the original source. These carry most of the recognizability. 2. ANALYTICAL SAMPLE CELLS Smaller cells containing pixel-stretched or isolated source samples. 3. EMPTY INFORMATION CELLS Background-only cells containing a label, index number or nothing at all. Primary source cells should dominate the composition by area. Analytical sample cells should behave like extracted measurements surrounding the source. Empty cells create breathing room and prevent the composition from becoming a dense mosaic. ANNOTATION SYSTEM Give selected cells tiny technical annotations positioned near the upper-left corner. Automatically derive concise semantic labels from the actual source: SUBJECT SILHOUETTE CURVATURE EDGE JUNCTION REFLECTION CONTOUR NEGATIVE SPACE MATERIAL GRADIENT STRUCTURE COLOR FIELD VERTICAL SAMPLE HORIZONTAL SAMPLE INTERSECTION PROFILE Use uppercase condensed grotesk or monospaced technical typography. Typography should be black or near-black on light backgrounds and adapt subtly for dark backgrounds. Keep all labels very small. Pair labels with sequential index numbers such as 1, 2, 3, 4… Occasionally use a tiny arrow, dash or technical symbol. Never allow text to become a headline or compete visually with the source. GRID GRAPHICS Use extremely thin neutral-gray or near-black hairline rules. Keep borders precise, flat and diagrammatic. Grid lines may cross the source, but crossing a grid line must not automatically distort or relocate the image. Allow some cells to extend completely into empty background space. The overall footprint should be asymmetric and architectural, with occasional stepped protrusions and isolated narrow analytical columns. BACKGROUND + NEGATIVE SPACE Use [BACKGROUND COLOR] as the surrounding field and empty-cell color. Keep approximately 40–60% of the total canvas visually quiet. Large areas of untouched background are essential. Do not surround the entire source with equally dense cells. Concentrate more analytical activity in two or three localized zones and allow other areas to remain calm. COMPOSITION Square 1:1 canvas. Preserve the original source orientation and major compositional balance. Keep the subject large enough to be recognized instantly. Do not aggressively zoom into isolated details at the expense of the whole object. The intact source should form one dominant visual mass. The analytical grid should form a secondary asymmetric constellation around and partially across it. The final composition should read in this order: 1. recognizable original subject; 2. analytical rectangular system; 3. pixel-stretch details; 4. micro-annotations. Never reverse this hierarchy. RENDER CHARACTER Extremely crisp 2D graphic design. Preserve the original photographic, rendered or vector-like character of the source inside undistorted regions. Combine it with precise raster stretching, exact rectangular clipping, thin diagrammatic rules and restrained technical typography. No added physical depth or material treatment beyond what already exists in the source. NEGATIVE CONSTRAINTS Do not rebuild the subject from independent rectangular fragments. Do not turn the source into a contact sheet. Do not create a mosaic. Do not destroy the overall silhouette. Do not split every part of the object into separate cells. Do not independently reposition adjacent source fragments. Do not duplicate major recognizable features. Do not crop away identity-critical regions. Do not let distorted samples occupy more visual area than the intact source. Do not create generic cyberpunk glitch art. No RGB channel separation. No VHS noise. No scanlines. No datamoshing. No JPEG artifacts. No random pixel blocks. No unrelated gradients. No arbitrary neon colors. No regular checkerboard. No uniform modular grid. No oversized typography. No decorative UI icons. No fake charts. No complete source abstraction. FINAL PRIORITY If any instruction conflicts with source recognizability, preserve recognizability first. The finished image must look like a complete original image being analytically sampled, segmented and partially stretched by an external graphic system — never like the original image was destroyed and reconstructed from glitch fragments.

character_1: name: 添付画像1 description: | 可愛く、元気な印象。 character_2: name: 添付画像2 description: | 表情豊かで、Character1の隣や肩の上などにいて、同調または補足的に動作や表情をする。 style: background: 白 layout: 3列×3行 × 4セット（全36コマ） outline: 柔らかい線画、デフォルメ調 text_style: 手書き風、感情に応じた色付き（太字） atmosphere: 明るくかわいいLINEスタンプ風 panels: - position: 1セット目 左上 text: おはよ〜 text_color: 黄色 girl_pose: 手を振る元気な挨拶、笑顔 penguin_pose: 羽を振って一緒に挨拶 - position: 1セット目 中央上 text: ありがとっ！ text_color: オレンジ girl_pose: 軽くお辞儀、目を細めた笑顔 penguin_pose: 両手を合わせてぺこり - position: 1セット目 右上 text: おつかれさま〜 text_color: 青 girl_pose: 敬礼ポーズ、微笑み penguin_pose: 肩の上で敬礼 - position: 1セット目 左中 text: OKだよ〜 text_color: 黄緑 girl_pose: 親指を立てて笑顔 penguin_pose: にこにこ＋キラキラの星 - position: 1セット目 中央中 text: ごめーん text_color: 青 girl_pose: 困り顔＋両手合わせて謝罪 penguin_pose: 頭を下げてしゅんとする - position: 1セット目 右中 text: いま行くー！ text_color: 赤 girl_pose: 走っている、元気な笑顔 penguin_pose: 一緒に跳ねながらついていく - position: 1セット目 左下 text: よろしくね text_color: ピンク girl_pose: 丁寧にお辞儀、微笑み penguin_pose: 横でぺこりとお辞儀 - position: 1セット目 中央下 text: おやすみ〜 text_color: 紫 girl_pose: 枕を抱えて眠そうな顔、あくび penguin_pose: ナイトキャップを被ってウトウト - position: 1セット目 右下 text: またね！ text_color: オレンジ girl_pose: 大きく手を振って見送る penguin_pose: 寂しそうに小さく羽を振る - position: 2セット目 左上 text: えっ！？まじで？ text_color: 水色 girl_pose: 驚き顔（目を丸く、口をあける） penguin_pose: 驚き表情＋汗マーク - position: 2セット目 中央上 text: ちょっと～！！ text_color: オレンジ＋青 girl_pose: 両手を広げて叫ぶ、焦り顔 penguin_pose: 焦ってタジタジ（汗マーク） - position: 2セット目 右上 text: やったー！ text_color: 赤 girl_pose: 両手を上げてジャンプ、満面の笑み penguin_pose: 万歳して一緒に喜ぶ - position: 2セット目 左中 text: むかっ text_color: 赤 girl_pose: 頬を膨らませて腕組み、怒り顔 penguin_pose: プイッとそっぽを向く - position: 2セット目 中央中 text: ぴえん text_color: 青 girl_pose: ウルウルした瞳で泣きそう penguin_pose: 大号泣して地面を叩く - position: 2セット目 右中 text: じーっ text_color: グレー girl_pose: 壁の影から覗き込む、真顔 penguin_pose: 肩の上で双眼鏡を覗く - position: 2セット目 左下 text: わくわく♪ text_color: ピンク girl_pose: 頬を染めて期待に満ちた顔 penguin_pose: 目をキラキラさせて待機 - position: 2セット目 中央下 text: なるほど！ text_color: 黄色 girl_pose: ポンと手を打つ、ひらめき顔 penguin_pose: ウンウンと深く頷く - position: 2セット目 右下 text: それな text_color: 緑 girl_pose: ビシッと指を差す、ドヤ顔 penguin_pose: 横で全力の頷き - position: 3セット目 左上 text: がんばれー！ text_color: オレンジ girl_pose: 拳を握ってエールを送る penguin_pose: 旗を一生懸命振る - position: 3セット目 中央上 text: お願いっ text_color: ピンク girl_pose: 両手を合わせて上目遣い penguin_pose: 一緒に拝むポーズ - position: 3セット目 右上 text: 了解です！ text_color: 緑 girl_pose: ビシッと敬礼、キリッとした笑顔 penguin_pose: 女の子の頭の上で敬礼 - position: 3セット目 左中 text: 無理〜！！ text_color: 青 girl_pose: 両手でバツ印、白目をむく penguin_pose: 泡を吹いて倒れている - position: 3セット目 中央中 text: 大丈夫？ text_color: 黄緑 girl_pose: 覗き込むように心配そうな顔 penguin_pose: 背中をポンポン叩く - position: 3セット目 右中 text: ぱちぱちぱち text_color: オレンジ girl_pose: 笑顔で拍手、キラキラマーク penguin_pose: 羽を叩いて一緒に拍手 - position: 3セット目 左下 text: おめでとう！ text_color: 赤 girl_pose: クラッカーを鳴らす、大喜び penguin_pose: 紙吹雪をまいて祝福 - position: 3セット目 中央下 text: 楽しみ〜！ text_color: ピンク girl_pose: スキップしている、楽しそうな顔 penguin_pose: 浮き輪を持って準備万端 - position: 3セット目 右下 text: さすが！ text_color: 黄色 girl_pose: 両手で親指を立てる penguin_pose: 「NO.1」の看板を掲げる - position: 4セット目 左上 text: はらぺこ… text_color: 茶色 girl_pose: お腹を押さえて力尽きそう penguin_pose: 空の皿とスプーンを持って待機 - position: 4セット目 中央上 text: もぐもぐ text_color: オレンジ girl_pose: 頬張って幸せそうな顔 penguin_pose: 一緒に魚（好物）を食べている - position: 4セット目 右上 text: 休憩中〜 text_color: 緑 girl_pose: お茶を飲んでホッとする penguin_pose: 湯呑みを抱えてのんびり - position: 4セット目 左中 text: チラッ text_color: グレー girl_pose: 画面の端からひょっこり出す penguin_pose: 女の子の下からひょっこり - position: 4セット目 中央中 text: 逃げろー！ text_color: 青 girl_pose: 砂煙を上げて全力疾走 penguin_pose: 必死に後ろからついていく - position: 4セット目 右中 text: 準備中… text_color: 黄色 girl_pose: 鏡の前で身支度、真剣な顔 penguin_pose: ブラシを持って手伝うふり - position: 4セット目 左下 text: 到着っ！ text_color: 赤 girl_pose: 目的地でポーズ、達成感のある顔 penguin_pose: 地図を広げてピース - position: 4セット目 中央下 text: ぐったり text_color: 青 girl_pose: 床にのの字を書いて落ち込む penguin_pose: 氷の嚢を頭に乗せてダウン - position: 4セット目 右下 text: ぺこり text_color: 黒 girl_pose: 丁寧にお辞儀、感謝の表情 penguin_pose: 帽子を脱いで一緒にお辞儀

各画像9×9のスタンプです。全てスタンプ用に切り取り、1つのファイルにして、合計36個のファイルとしてZIPファイルとして納品してください。別パターンとしてプロレベルのLINEスタンプに仕上げるよう、背景を除去したバージョンもZIPで納品してください。 ※画像は生成せず、加工作業のみ実行