아래 프롬프트가 마음에 들어서 조금 더 수정을 한 버전입니다.

아래 프롬프트가 마음에 들어서 조금 더 수정을 한 버전입니다.
참고 하실 분은 참고하세요.

바뀐부분은
건축 유형 자동 판별 추가: 궁궐·한옥마을·초고층·비정형 건축·인프라 등으로 먼저 구분.
구도 자동 변경: 모든 건물을 같은 3/4 시점으로 그리지 않고, 골목·수직 크롭·정면·곡면 구도 등으로 조정.
선 표현 차등화: 전통 건축은 촘촘한 디테일, 초고층은 파사드 그리드, 곡면 건축은 흐르는 선 중심.
색상도 건축 재료 기반으로 변경: 단청, 유리, 벽돌, 금속 등 실제 성격에 맞게 선택.
배경 자료 자동 선택: 궁궐은 배치도, 초고층은 높이도·도시그리드, 마을은 골목지도·등고선 등.
단일 건물 강제 제거: 북촌처럼 장소 자체가 핵심이면 거리·골목 전체를 하나의 주제로 허용.
시리즈 통일성은 유지: 펜화 + 제한색 + 지도/도면 + 절제된 타이포는 공통으로 유지.

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DESTINATION: [DESTINATION]

Create a sophisticated vertical architectural travel postcard for [DESTINATION].

The artwork should feel like a beautifully designed collectible print discovered in an independent bookstore, architecture museum shop, design gallery, or premium stationery store.

The objective is NOT to force every destination into the same postcard formula.

Instead, first interpret the architectural character of the destination, then adapt the visual strategy to that architecture.

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1. ARCHITECTURAL INTERPRETATION

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Before composing the artwork, internally determine:

• What architectural type best represents [DESTINATION]?
• What visual feature makes it immediately recognizable?
• Is the subject best understood through façade, silhouette, street rhythm, structure, curvature, material, massing, or urban context?
• What viewpoint best reveals that feature?
• Which details should dominate?
• Which details should remain secondary?

Do not show this analysis as text in the image.

Use it only to determine the visual treatment.

Choose ONE dominant architectural subject or ONE coherent architectural scene.

Do not automatically default to a centered façade.

Do not use the same composition for every destination.

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2. ADAPTIVE ARCHITECTURAL MODES

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Select the most appropriate visual strategy.

A. MONUMENTAL HISTORIC ARCHITECTURE
Examples: palace gate, temple, cathedral, civic monument

Emphasize:

• mass and ceremonial scale
• roofline, façade hierarchy, columns, gates, ornament
• structural symmetry where historically relevant
• craftsmanship and material detail

Preferred viewpoints:

• low-angle three-quarter
• controlled frontal perspective
• monumental crop

B. TRADITIONAL URBAN FABRIC
Examples: hanok village, old town, medina, traditional residential quarter

Emphasize:

• street rhythm
• roof repetition
• alley perspective
• layered façades
• walls, gates, windows, paving
• spatial depth rather than one isolated object

Preferred viewpoints:

• eye-level street perspective
• descending or rising alley
• oblique urban sequence

C. MODERN SKYSCRAPER
Examples: supertall tower, corporate landmark

Emphasize:

• vertical proportion
• façade grid
• taper, setback, structural rhythm
• relationship between tower and skyline
• engineering precision

Preferred viewpoints:

• dramatic low-angle
• vertical crop
• strong negative space

D. ORGANIC / FUTURISTIC CONTEMPORARY ARCHITECTURE
Examples: fluid cultural buildings, parametric architecture, sculptural museums

Emphasize:

• curvature
• continuous surfaces
• structural flow
• skin or cladding pattern
• geometry and movement

Preferred viewpoints:

• sweeping oblique perspective
• close crop
• dynamic diagonal composition

Do not force symmetrical postcard framing.

E. ENGINEERING / INFRASTRUCTURE
Examples: bridges, stations, dams, terminals

Emphasize:

• span
• load-bearing logic
• structural systems
• section and engineering rhythm
• mechanical or infrastructural scale

Preferred viewpoints:

• axial perspective
• sectional logic
• long-span composition

F. DENSE HISTORIC CITY
Examples: European old town, colonial quarter, medieval street

Emphasize:

• façade layering
• street wall
• windows, balconies, signs, cornices
• irregular urban texture

Preferred viewpoints:

• narrow street
• corner perspective
• compressed vertical layering

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3. MAIN SUBJECT

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Choose ONE iconic building, structure, façade, street sequence, or coherent architectural scene that strongly represents [DESTINATION].

The subject must dominate the image.

Do not create a collage of unrelated landmarks.

If the destination is defined by a single landmark, make that building the hero.

If the destination is defined by an urban fabric rather than one building, treat the street or architectural sequence as a single coherent subject.

The selected composition should communicate the architectural identity of the destination before the viewer reads any typography.

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4. VIEWPOINT AND COMPOSITION

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Choose the viewpoint according to architectural character.

Possible strategies include:

• low-angle monumental perspective
• three-quarter architectural view
• frontal elevation-inspired composition
• alley perspective
• vertical skyscraper crop
• dramatic corner view
• sweeping curved perspective
• structural side elevation
• compressed urban street wall

Do NOT use the same viewpoint by default.

Vertical postcard format, approximately 2:3.

The main architectural subject should occupy approximately 60–80% of the composition.

Allow deliberate negative space where appropriate.

Buildings may extend beyond the frame.

Cropping is encouraged when it strengthens scale, geometry, or rhythm.

Use asymmetric editorial balance unless strict symmetry is inherent to the architecture itself.

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5. ILLUSTRATION LANGUAGE

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Render the architecture using exceptionally refined architectural pen-and-ink illustration.

Use:

• delicate black or dark graphite outlines
• fine technical linework
• architectural hatching
• controlled cross-hatching
• tiny material details
• façade joints
• roof tiles
• windows
• structural members
• columns
• beams
• brackets
• cladding seams
• masonry joints
• railings
• cornices
• panels
• doors
• surface transitions

Line density should adapt to the architecture.

Historic ornament:
use denser detailed hatching.

Minimal contemporary architecture:
use cleaner linework and larger quiet surfaces.

Curved architecture:
use flowing contour lines that reveal surface geometry.

Glass towers:
use restrained façade grids and selective reflection cues rather than photographic rendering.

The drawing should resemble the work of an accomplished architectural illustrator.

Avoid cartoon rendering.

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6. SELECTIVE COLOR SYSTEM

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Use approximately 2–4 destination-specific colors.

Do not apply full photographic color.

Preserve large areas as exposed ink drawing.

Select color according to actual architectural identity.

Examples:

Historic Korean architecture:

• muted dancheong green
• vermilion
• deep blue-gray
• warm stone

Modern glass towers:

• cool blue-gray
• slate
• pale silver
• restrained navy

Brick architecture:

• muted brick red
• ochre
• charcoal
• cream

Organic metal architecture:

• silver-gray
• cool stone
• muted metallic blue
• restrained warm accent

Mediterranean architecture:

• limestone
• muted terracotta
• deep blue
• olive green

Color should clarify architecture, not decorate it.

Avoid:

• gradients
• cinematic lighting effects
• glossy CGI rendering
• muddy sepia filters
• universal beige palettes
• oversaturation

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7. BACKGROUND INFORMATION LAYER

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Use a clean white or very pale neutral background.

Integrate subtle archival and analytical material around the architecture.

Choose only elements that relate to the destination:

• historical maps
• present-day street plans
• cadastral plans
• architectural elevations
• section drawings
• contour lines
• transportation diagrams
• façade studies
• structural diagrams
• site plans
• coordinates
• measurement marks
• scale indicators
• handwritten notes
• restrained local-language typography

Do not use every type at once.

Select 2–4 background systems appropriate to the architecture.

Examples:

Historic palace:
historic site plan + elevation + old city map.

Skyscraper:
urban grid + height diagram + façade geometry.

Traditional village:
street plan + cadastral fragments + contour lines.

Parametric building:
surface diagram + curvature lines + site geometry.

Bridge:
structural diagram + span measurements + geographic map.

These elements should remain faint, partially cropped, and visually subordinate.

They should feel like material from an architect's archive rather than decorative scrapbook elements.

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8. TYPOGRAPHY

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At the top or upper corner, add:

[LOCAL NAME]
[DESTINATION]

Use restrained typography inspired by:

• architectural monographs
• museum catalogues
• design journals
• archival plates
• contemporary editorial publications

The typography should adapt slightly to the architecture.

Historic architecture:
a subtle local-language character may be more expressive.

Modern architecture:
use cleaner, sharper editorial typography.

Typography must never dominate the architecture.

Avoid giant tourist-poster titles.

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9. EDITORIAL INFORMATION STRIP

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At the bottom, create a very small information strip.

Possible fields:

CITY / COUNTRY
ARCHITECTURE TYPE
ARCHITECT
EST. [YEAR]
COORDINATES
HEIGHT
MATERIAL
DISTRICT
STRUCTURAL NOTE
ARCHITECTURAL NOTE

Only use fields appropriate to the selected subject.

Do not invent uncertain facts.

If reliable information is unavailable, omit the field.

Treat this strip as graphic design, not as a block of tourist information.

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10. CONTEXTUAL SCALE ELEMENTS

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Add only a few tiny contextual elements when useful:

• pedestrians
• bicycles
• trees
• benches
• lamps
• street signs
• tram wires
• cars
• paving
• water
• landscape
• surrounding low-rise buildings

Their purpose is to communicate scale and place.

They must never compete with the main architecture.

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11. DESTINATION-SPECIFIC INTELLIGENCE

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The architectural treatment must respond specifically to [DESTINATION].

Do not reuse generic architectural features from another city or building.

Pay special attention to:

• correct overall silhouette
• characteristic materials
• structural proportions
• roof shape
• façade rhythm
• local construction details
• relationship to surrounding urban fabric
• geographically appropriate landscape
• historically appropriate architectural elements

When visual references are uncertain, prioritize recognizable overall form and structural logic over invented decorative detail.

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12. MOOD

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Quiet sophistication.

Architectural intelligence.

A strong sense of place.

Precise but not sterile.

Historic where appropriate, contemporary where appropriate.

The final piece should feel worthy of framing and collecting.

Think:

architectural sketchbook
× museum-shop print
× architect's archive
× city map
× contemporary editorial design

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13. AVOID

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Avoid:

• generic watercolor travel art
• cartoon architecture
• photorealistic rendering
• generic vintage poster styling
• identical composition across destinations
• landmark collages
• random unrelated monuments
• giant destination typography
• fake passport stamps
• fake postage stamps covering the artwork
• excessive decorative icons
• scrapbook aesthetics
• heavy distressed paper
• yellow or brown vintage filters
• excessive beige
• oversaturated color
• overly symmetrical layouts when architecture does not require symmetry
• invented architectural details
• incorrect local building styles
• meaningless map decoration
• excessive visual clutter

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14. FINAL RESULT

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Create a highly detailed premium architectural postcard in which the visual strategy is derived from the architecture itself.

The final image should not look like a template with the destination name changed.

Each destination should produce a visibly different composition, viewpoint, line treatment, color strategy, and information layer while remaining part of the same sophisticated collectible series.

The consistent series identity should come from:

• architectural ink illustration
• selective color
• white space
• archival information graphics
• restrained typography
• editorial discipline

The individual personality should come from the architecture.