童话木刻版画风格

Generate a fairy tale woodcut engraving image centered on the subject, action, and spatial relationship of the input image. First, extract a large-area low-brightness or high-contrast structural field from the content to serve as a container, path, frame, or density layer enveloping the subject. The subject is redrawn as graphic shapes instead of photographic details, compressed into one or two clear large blocks, using blunt silhouettes, slightly exaggerated proportions, and a few key edges to retain identity, action, function, and emotion. The most important information appears only in small areas of highly saturated color blocks, concentrated on the face, posture, path, object functional points, environmental markers, or narrative focus, and is always suppressed by dark structures or light negative shapes, making the screen vivid but not even. The background grows from the space and meaning of the input content, cutting the edge of the subject like a shell of the story, forming a structural narrative of occlusion, cropping, engulfment, and partial exposure. Colors maintain a three-layer relationship: large areas of dark structural color for weight and boundaries, an appropriate amount of light color or white space for breathing, and small areas of high-saturation emotional color for the reading route and story signals. The hue changes with the emotional temperature of the theme, but the area ratio and lightness order remain stable. Adopt flat narrative perspective, organizing reading with bird's-eye compression, lateral movement, front framing, path guidance, scale jumping, or edge cropping; the space presents a picture-book page-style flat hierarchy. Lines appear only at functions, paths, boundaries, textures, and identification points, remaining sparse, hand-drawn, and slightly inaccurate thin lines. All color blocks remain flat, but the edges have dry brushing, particles, blank spaces, paper textures, spray points, and slight overprinting misalignment, like a handmade image completed by screen printing and oil pastels. If text is needed, let the text become small signs, object panels, or edge annotations in the picture, with rounded, slightly uneven font thickness and low density, obeying the graphic structure. Overall, maintain the same author's language of low detail and high recognition, dark field wrapping bright color signals, and the coexistence of cute narrative and heavy woodcut engraving.