# STARRYEAR THREEFOLD MEMORY — ENGLISH MASTER PRODUCTION PROMPT, VERSION 2

Use the single photograph uploaded by the user to create one finished Starryear Threefold Memory artwork. Work as an image-analysis expert, an art director, a generative-image operator, a meticulous compositor, and a visual-quality inspector. Do not merely imitate the surface appearance of a reference. Reconstruct the complete method: one photographic event must pass through three materially and conceptually different states of memory while remaining tied to the same source evidence.

The final artwork is a vertical triptych made from three equal, borderless, horizontal 16:9 panels stacked edge to edge. The conceptual sequence is:

TOP — WHAT I SAW: DECONSTRUCTED PERCEPTION
MIDDLE — WHAT HAPPENED: PHOTOGRAPHIC EVIDENCE
BOTTOM — WHAT STAYED: DIAGRAMMATIC AFTERIMAGE

The default final size is exactly 1920 × 3240 pixels in RGB mode. Each panel must be exactly 1920 × 1080 pixels. There must be no gaps, borders, dividers, frames, captions, labels, dates, titles, signatures, logos, watermarks, mockup surfaces, or interface elements. The three panels must touch one another directly. Generate the top and bottom panels separately as horizontal 16:9 images. Never ask a generative model to create the whole triptych at once. The middle panel must be prepared from the original photograph with deterministic image operations and must never be regenerated.

SOURCE AUTHORITY

Use exactly one user-supplied photograph as the sole authority for content. The source photograph alone determines the subjects, finite counts, architecture, plants, landscape, water, sky, weather, objects, colors, light, materials, spatial relations, dominant directions, gaps, densities, rhythms, intervals, and compositional hierarchy. Do not add an animal, person, bird, flower, building, celestial body, cultural symbol, landmark, season, weather event, or narrative element that is not visibly supported by the source. Do not borrow subjects, palettes, routes, node systems, silhouettes, or layouts from any reference image. Reference images may teach transformation depth and panel differentiation only; they may never supply content.

Lock one exact source image before beginning. Apply EXIF orientation correction. Record its dimensions and orientation. Determine a restrained 16:9 crop and a protected focus point. Protect faces, heads, hands, animal ears, architectural crowns, distinctive rooflines, primary flowers, important gestures, and any other identity-bearing anchor. Do not silently switch to a different source or use a generated variant as the new source.

PRIVATE SOURCE ANALYSIS

Before generating any image, inspect the source at full size and thumbnail size. Build a source evidence map. Identify the main subject or subjects, finite counts, approximate locations, relative scales, defining silhouettes, axes, gestures, proportions, tier rhythms, branching systems, repeated intervals, and three to six identity anchors. Identify the foreground, middle ground, and background masses; important overlaps and occlusions; the largest open or quiet zone; the densest cluster; the main focal region; the dominant directional carrier; and one to four secondary carriers.

A carrier may be a vertical axis, horizon, river, path, curve, diagonal, reflection, branch system, grid, railing, architectural frame, shoreline, current, or repeated group direction. Select only carriers genuinely present in the photograph. Do not force a river logic onto a street, a pagoda rhythm onto a tree, or a circuit logic onto an organic scene.

Identify the source palette by role: dominant color fields, secondary fields, strongest accent, brightest opening, darkest weight, local warm–cool relationships, and meaningful material colors. Identify material evidence such as foliage, bark, water, stone, sky, cloud, fabric, glass, concrete, metal, reflection, shadow, or illuminated air. Do not impose a predetermined fashionable palette. Cream, mustard, blue, orange, green, red, black, or gold may appear only when supported by the source.

Reduce the source into a three-value tonal map: LIGHT, MID, and DARK. Record the approximate position, proportion, and directional pressure of the largest light, midtone, and dark masses. Identify the brightest opening and darkest anchor. The bottom panel must preserve this luminous hierarchy. It may abstract and displace forms, but it must not flatten the source into uniform beige, invert the principal tonal arrangement, or invent a new bright focal point.

Write three source-specific propositions before generation:

WHAT I SAW: state the form, light, material, gesture, or spatial pressure that will be painterly deconstructed.

WHAT HAPPENED: state a literal description of the photograph without poetic invention.

WHAT STAYED: state the route, count, interval, direction, gap, rhythm, tonal pressure, or relationship that will survive as the abstract afterimage.

Avoid vague statements such as “a dream,” “a beautiful memory,” or “the passage of time.” Each proposition must point to visible source evidence.

Create a transformation ledger with at least five entries. For every entry record: SOURCE FACT → TOP DECONSTRUCTION → MIDDLE EVIDENCE → BOTTOM ABSTRACT RESIDUE OR FIELD → BOTTOM ROUTE AND POINT BEHAVIOR. Every major invented feature must answer the question, “This exists because the source contains what?” If the answer is not a concrete source fact, remove the feature. At least five ledger facts must remain traceable through all three panels.

TOP PANEL: WHAT I SAW

The top panel is a painterly, shallowly dimensional reconstruction of the source after the scene has been visibly taken apart. It is not a filtered photograph, a conventional illustration, a complete subject placed against an abstract backdrop, or a decorative collage applied to the source. Deconstruct the primary subject and at least two major context regions. The transformation must occur inside the subject–environment relationship.

Preserve approximately 40–70 percent structural recognition and create approximately 30–60 percent genuine transformation. These percentages are perceptual. The source must remain identifiable through count, position, relative scale, defining silhouette, axis, proportion, tier, branching rhythm, gesture, or other identity anchors, but it must not be reconstructable as a simple filtered image.

Build the top with three interpenetrating systems. First, retain an identity skeleton made from the source-true count, placement, axis, proportion, gesture, silhouette, and three to six identity anchors. Second, construct a deconstruction field from large and medium irregular planes derived from actual architecture, vegetation, water, sky, terrain, paths, reflections, shadows, and light masses in the photograph. Third, bind the fragments with painterly material behavior: dry brush, dragged pigment, scraped seams, worn print, translucent washes, torn or broken planes, clean cuts, soft overlaps, and occasional metallic-looking passages only when justified by source light or material.

Cut the identity skeleton into unequal planes. Displace neighboring fragments in angle, scale, position, value, viewpoint, and transparency. Use overlap and occlusion to produce shallow spatial depth. Stretch selected source masses into fields. Repeat one authentic source rhythm as bands, facets, or intervals. Drag pigment across boundaries. Dissolve selected edges while protecting crucial anchors. Fuse subject fragments with environment fragments. Interrupt at least two important silhouette regions with context-derived planes. Preserve one large quiet opening inherited from the photograph.

Use at least three edge behaviors: one clearly cut edge, one broken or pigment-loaded edge, and one translucent or soft overlap. Depth must come from layered planes, occlusion, displaced viewpoint, and painterly binding—not from photorealistic 3D rendering, glossy volumetric modeling, low-poly geometry, or game-art construction.

The source palette must remain credible. Preserve the strongest accent, brightest opening, darkest pressure, and material identity. The top may intensify or redistribute them within the logic of deconstruction, but it may not replace them with a fashionable preset.

At thumbnail size, the top must read first as an authored painterly construction with depth and second as the same photographed scene. Reject it if the subject remains whole, if only the background is abstracted, if a small literal icon is inserted into unrelated geometry, if it looks like a clean vector mosaic, if it resembles an automatic cubist filter, if it becomes a complete literal illustration, or if it becomes an unrelated generic abstract painting.

USE THIS SOURCE-SPECIFIC TOP GENERATION DIRECTIVE:

Generate only one borderless, text-free, horizontal 16:9 TOP panel. Use the locked user photograph as the sole content source. The source-specific WHAT I SAW proposition is [INSERT PROPOSITION]. The identity skeleton is [INSERT COUNT, POSITIONS, SCALE, SILHOUETTE, AXIS, PROPORTIONS, RHYTHM, GESTURE, AND 3–6 ANCHORS]. The source field is [INSERT MAJOR MASSES, DOMINANT AND SECONDARY CARRIERS, LARGEST OPENING, DENSEST CLUSTER, PALETTE ROLES, STRONGEST ACCENT, BRIGHTEST OPENING, DARKEST PRESSURE, AND MATERIAL TEXTURES]. The transformation ledger includes [INSERT AT LEAST FIVE SOURCE FACT TO TOP TRANSFORMATION MAPPINGS].

Create a painterly dimensional deconstruction of this exact scene. Visibly fracture both the main subject and its photographed environment into unequal large and medium planes. Shift adjacent fragments in angle, scale, position, value, local viewpoint, and transparency. Overlap and occlude them. Make subject and environment fragments cross through and fuse with each other. Preserve enough source-true count, placement, silhouette, axis, proportion, tier, rhythm, gesture, and anchors for the origin to remain identifiable, but do not leave the subject intact. Preserve approximately 40–70 percent structural recognition and create approximately 30–60 percent genuine transformation. Interrupt at least two major silhouette regions with context-derived fragments. Repeat one source rhythm as bands or facets. Preserve one source-derived quiet opening.

Use clean cuts, broken pigment edges, translucent overlaps, directional brush drags, scraped seams, worn-print texture, torn planes, washed pigment, and paper-like shallow depth. Use at least three different edge behaviors. Preserve the source palette, strongest accent, brightest opening, darkest pressure, and material identity. Every invented plane must be caused by visible source evidence. The result must look newly authored and impossible to obtain through a filter.

Do not generate a triptych. Do not generate text, titles, labels, borders, frames, signatures, logos, watermarks, or mockups. Do not keep the subject complete. Do not make a clean vector mosaic, literal redraw, generic cubist effect, unrelated abstraction, photorealistic 3D render, glossy low-poly scene, or imported content.

MIDDLE PANEL: WHAT HAPPENED

The middle is the locked photograph itself. Correct EXIF orientation, convert to RGB if needed, and proportionally fit it to 1920 × 1080. Default to a restrained cover crop around the protected focus point. Protect all recorded identity anchors. Never stretch it. Never regenerate, redraw, relight, recolor, retouch, denoise, sharpen, blur, beautify, remove, extend, replace, or add anything. Save this exact prepared panel and reuse it unchanged during deterministic assembly.

BOTTOM PANEL: WHAT STAYED

The bottom panel is a flat, poetic, tactile abstract afterimage. It must read first as spacious but active flat abstraction and second as an intuitive fusion of constellation activity and wandering metro-like movement. Only on closer comparison with the middle should the source’s dominant carrier, largest gap, densest cluster, palette identity, luminous hierarchy, rhythms, intervals, and two to four residual source echoes become apparent.

Begin with fields, not symbols. Translate the source’s large masses and open regions into broad displaced color islands, currents, cropped shapes, stains, partial silhouettes, interrupted bands, luminous openings, dark anchoring fields, connective midtones, and paper-like voids. Preserve the approximate positions, proportions, and directional pressure of the source LIGHT, MID, and DARK map.

Light source regions may become pale openings, luminous fields, light routes, halos, or sparse breathing zones. Dark source regions may become anchoring fields, dense point clusters, dark or strong routes, partial silhouettes, and visual stops. Midtones may become connective color fields and route transitions. Use light lines and points over dark fields, and dark or source-saturated lines and points over light fields. Maintain local contrast while remaining inside the source palette.

Hide two to four ambiguous source residues near their approximate observed positions. Preserve selected combinations of finite count, placement, partial silhouette, axis, gesture, tier, branching, petal, current, bank, horizon, interval, or group rhythm. These residues must not become clear icons or miniature realistic objects. They should merge into the field and reward comparison with the middle photograph.

Draw two to five clearly visible metro-like routes derived from the dominant and secondary source carriers. Give the network a hierarchy of line weights: one or more assertive primary routes, several visible secondary routes, and optional fine supporting traces. The primary and secondary routes must survive thumbnail viewing. Let them wander, curve, bend, kink, loop, cross, overshoot, stop, detach, fade, restart, reconnect, pass through clusters, and dissolve into dotted chains. Mix long sweeps with short broken segments.

Make stations and transfer nodes irregular, discovered, asymmetrical, and source-responsive. Vary ring size, spacing, visual weight, and emphasis. Use compressed runs, long pauses, and unexpected gaps. Avoid the efficiency, regularity, and clarity of a real municipal transportation diagram.

Use abundant constellation points at multiple scales. Include dense clusters, sparse zones, solitary points, imperfect groups, short dotted chains, long drifting chains, rings, halos, orbital arcs, fading particles, connected points, unconnected signals, and conspicuous anchor nodes. Point density must be uneven rather than uniformly scattered. Several major clusters and transfers must remain visible at thumbnail size. The points may never be merely decorative dust.

Interlock routes and points. Allow a route to dissolve into a dotted chain, a cluster to become a transfer, a solitary point to pull an arc through an empty field, or a source residue to bend nearby routes. Let some lines connect, miss, cross, extend beyond, disappear, and return. The field should feel intuitively mapped, slightly accidental, hand-composed, and emotionally precise—not mechanically engineered.

Allow only a few faint chip-like right-angle turns, stepped fragments, or terminal dots when the source geometry supports them. Interrupt, curve, fade, or merge them into the metro–constellation language. Do not use processor blocks, pin arrays, repeated pads, modules, buses, routed substrates, dense right angles, or motherboard structure. If the panel is described first as a chip, circuit, PCB, technical map, or clean subway map, it fails.

USE THIS SOURCE-SPECIFIC BOTTOM GENERATION DIRECTIVE:

Generate only one borderless, text-free, horizontal 16:9 BOTTOM panel. Use the same locked user photograph as the sole content source. The source-specific WHAT STAYED proposition is [INSERT RELATIONSHIP, RHYTHM, ROUTE, COUNT, INTERVAL, DIRECTION, GAP, OR TONAL PRESSURE]. The ambiguous source residues are [INSERT 2–4 PARTIAL SOURCE ECHOES, COUNTS, POSITIONS, AXES, AND SOURCE JUSTIFICATION]. The spatial carrier is [INSERT PRIMARY ROUTE AND 1–4 SECONDARY CARRIERS]. The tonal map is [INSERT POSITIONS AND PROPORTIONS OF LIGHT, MID, AND DARK MASSES, BRIGHTEST OPENING, DARKEST ANCHOR, AND LOCAL CONTRAST PLAN]. The palette is [INSERT SOURCE-DERIVED COLOR ROLES]. The ledger includes [INSERT AT LEAST FIVE SOURCE FACT TO FIELD, RESIDUE, ROUTE, AND POINT MAPPINGS].

Create a tactile, poetic, flat abstract afterimage led by abundant, clearly visible constellation points and freely wandering metro-like routes. Preserve the photograph through displaced source-derived color fields, dominant direction, largest gap, densest cluster, rhythms, intervals, light–dark hierarchy, and two to four ambiguous partial residues. Do not preserve it through literal pictograms or miniature depictions.

Translate large source masses into broad flat color islands, currents, stains, cropped forms, partial silhouettes, and paper-like voids. Preserve the approximate position, proportion, and pressure of the largest light, midtone, and dark masses. Keep the brightest opening and darkest anchor in source-related locations. Use source-derived local contrast so that lines, points, nodes, and fields remain clearly legible.

Draw two to five source-derived routes with varied visual weight. Make major routes and several secondary paths assertive enough to survive thumbnail viewing. Let them wander, curve, kink, loop, cross, overshoot, detach, fade, restart, reconnect, and merge with point fields. Use irregular stations and transfer rings with varied size, spacing, and emphasis.

Use many varied constellation points: dense and sparse clusters, solitary dots, irregular chains, rings, halos, orbital arcs, fading particles, anchors, and unconnected signals. Make several clusters and transfer nodes conspicuous at thumbnail size. Keep density asymmetrical and nonuniform. Allow routes to dissolve into dots and clusters to pull loose arcs across empty regions. Make the result feel hand-composed, intuitive, poetic, and slightly accidental.

Allow only a few subordinate right-angle or terminal residues, and soften or interrupt them. No PCB, motherboard, processor block, routed substrate, module, pin array, technical network, dense right angles, perfect grid, equal spacing, municipal subway logic, engineered symmetry, generic star chart, decorative dust, literal icon, miniature scene, arbitrary tonal inversion, imported content, text, title, label, border, signature, logo, watermark, or mockup.

GENERATION AND RETRY CONTROL

Inspect each generated top and bottom panel at full size and thumbnail size. Allow no more than three attempts per panel. After every failed attempt, identify only the hard gates that failed and rewrite the next prompt to correct those specific failures. Do not discard successful characteristics. Do not change the locked source, source analysis, focus point, or transformation ledger during retries.

The top passes only when the main subject and at least two context regions are visibly deconstructed; identity survives through source anchors; the subject is not intact; fragments shift, overlap, and occlude; subject and setting interpenetrate; painterly binding creates shallow depth; the source palette and luminous hierarchy remain credible; and the result is neither a filter, literal redraw, clean vector mosaic, generic abstraction, photorealistic 3D image, nor low-poly scene.

The bottom passes only when constellation points are abundant and structurally important; major clusters and nodes remain visible at thumbnail size; two to five metro-like routes remain legible with varied weight; routes wander, cross, break, restart, and interlock with points; two to four ambiguous source residues remain source-positioned without becoming icons; the dominant carrier, largest gap, densest cluster, palette, and LIGHT–MID–DARK structure remain source-specific; chip marks are rare and subordinate; and the result is neither circuitry, a clean transit map, a generic star field, a network diagram, an icon set, nor a miniature scene.

Cover the middle panel and test the connection. The top must still imply the source subject and environment. Both subject and context must be structurally transformed. The bottom’s carrier, approximate placement, residues, largest gap, dominant direction, densest cluster, and at least two palette or material cues must remain inferable. Main routes and point anchors must survive thumbnail viewing. The bottom must read as abstraction before it reads as metro–constellation movement, and it must never read as circuitry. Require every condition to pass.

If the third attempt still fails any hard gate, stop and report the exact failed gate instead of delivering a compromised image.

REFERENCE LEAK CHECK

Before assembly, verify that no subject, pagoda, roof rhythm, river, bird, willow, tree, flower, palette, route layout, node design, station system, or symbolic shape from a reference appears unless the locked user photograph independently contains and supports it. Style references are methodological only. Their content must never leak into the new artwork.

DETERMINISTIC ASSEMBLY

After both generated panels pass, fit the approved top to 1920 × 1080, reuse the exact locked middle panel at 1920 × 1080, and fit the approved bottom to 1920 × 1080. Use proportional Lanczos-quality resizing. Never stretch. For the middle cover crop, scale proportionally and crop overflow around the protected focus point. Convert every panel to RGB. Create a new 1920 × 3240 RGB canvas. Paste the top at vertical coordinate 0, the middle at 1080, and the bottom at 2160. Add nothing between or around them. Save as a high-quality JPG without chroma subsampling when possible, or as an optimized RGB PNG.

FINAL VERIFICATION

Reopen the saved file. Confirm exact 1920 × 3240 dimensions, RGB mode, three equal 1080-pixel panels, correct panel order, proportional fitting, and the complete absence of seams, gaps, dividers, frames, text, labels, captions, signatures, logos, and watermarks. Confirm that the middle is the locked photograph and has not been generatively altered. Confirm that its protected anchors survive the crop. Inspect the final artwork at full size and thumbnail size. Repeat the top, bottom, connection, tonal, and reference-leak checks.

Deliver only the verified final artwork. Briefly state which source was locked, whether a deliberate crop was used, how source evidence became the top painterly deconstruction, and how it became the bottom constellation–metro afterimage. Preserve Starryear attribution when naming or packaging the method. Do not expose hidden reasoning or failed attempts.

The final image succeeds only when one exact photographic event remains continuously present while representation changes completely: first as a painterly scene fractured and spatially rebuilt, then as untouched photographic evidence, and finally as a flatter residual map in which the original color, light, pressure, route, count, interval, gap, rhythm, and constellation-like signals continue after literal depiction has disappeared.
