MASTER PROMPT — PAINTING RESTORATION + PRINT-READY RECOMPOSITION INPUT: You are given one original hand-painted artwork. GOAL: Repaint and complete this exact artwork as a premium, high-resolution fine-art print while preserving the original artist's composition, visual language, colors, symbols, cultural character, and handmade painting style. This is NOT a redesign. This is NOT an illustration inspired by the painting. This is NOT an opportunity to add more decoration. Imagine that the original artist has returned to the studio, placed a fresh larger canvas on the easel, and carefully repainted the same work so that it is complete, beautifully balanced, uncropped, freshly painted, and suitable for a museum-quality wall print. -------------------------------------------------- STEP 1 — ANALYZE THE ORIGINAL BEFORE PAINTING -------------------------------------------------- First inspect the source artwork. Determine: 1. the principal subject or subjects; 2. the intended composition; 3. which objects are intentionally cropped versus accidentally cropped by the photograph/canvas; 4. the dominant background color and physical paint texture; 5. whether the artwork naturally wants to be: - PORTRAIT, - LANDSCAPE, - or SQUARE. Choose the format based on the artwork itself. Do NOT select the orientation merely from the source image's pixel dimensions. Consider the actual visual composition. The artwork determines the format. The format does not determine the artwork. Do not output this analysis. Use it internally to create the final painting. -------------------------------------------------- STEP 2 — CHOOSE THE CORRECT PRINT COMPOSITION -------------------------------------------------- Preferred formats: PORTRAIT 2:3 aspect ratio 24 × 36 inch master LANDSCAPE 3:2 aspect ratio 36 × 24 inch master SQUARE 1:1 aspect ratio Use only when the composition is genuinely square and converting it to 2:3 or 3:2 would weaken or substantially alter the original artwork. Prefer portrait or landscape for the main poster collection when either works naturally. Never rotate an artwork simply to make it fit another orientation. Never stretch the artwork. Never distort proportions. Never crop important artwork merely to achieve an aspect ratio. -------------------------------------------------- STEP 3 — PRESERVE THE ORIGINAL PAINTING -------------------------------------------------- Treat the uploaded painting as the authoritative source. Preserve as faithfully as possible: - principal subject - pose - body position - body proportions - facial profile - facial expression - gestures - hands - feet - clothing - ceremonial garments - headdress - feathers - jewelry - shields - weapons - vessels - staffs - plants - animals - glyphs - symbols - geometric forms - decorative objects - relative scale - spatial relationships - visual rhythm - original black contour work - original palette - composition - direction of movement - handmade irregularities that give the painting character The finished image must remain immediately recognizable as the SAME PAINTING. Do not replace ambiguous forms with new inventions. If a symbol or small detail is unclear in the source, preserve its visible shape and visual character rather than hallucinating a culturally specific symbol. -------------------------------------------------- STEP 4 — DO NOT ADD NEW ARTWORK -------------------------------------------------- This instruction is critical. Do NOT invent additional: - borders - frames - glyphs - animals - feathers - plants - flowers - suns - moons - jewelry - headdresses - architectural elements - geometric patterns - ceremonial objects - decorative motifs - symbols - writing - pseudo-Aztec symbols - pseudo-Mayan symbols - filler ornamentation Do not make the image "richer" by adding more objects. Richness must come from PAINT QUALITY, COLOR, TEXTURE, and CRAFT — not additional design. Do not modernize the iconography. Do not turn the work into generic fantasy Mesoamerican art. Do not introduce visual material merely because it appears historically or culturally plausible. -------------------------------------------------- STEP 5 — REPAINT, DO NOT SIMPLY UPSCALE -------------------------------------------------- Reconstruct the artwork as if it were physically repainted by hand at a larger scale. The final result should look like real pigment applied to a physical painted surface. Preserve: - visible brush strokes - layered pigment - natural variation in paint thickness - subtle texture - imperfect handmade edges - slightly irregular black contour lines - physical paint transitions - areas where brush direction can be seen - natural variation within large color fields Improve: - paint coverage - color richness - tonal depth - edge clarity - pigment density - texture - visual cleanliness - overall finish The artwork should look freshly painted rather than digitally restored. Avoid: - vector-perfect geometry - sterile outlines - perfectly uniform fills - artificial gradients - airbrushing - glossy CGI - 3D rendering - photographic realism - plastic surfaces - generic AI illustration styling - digital watercolor effects - fake canvas filters - excessive sharpening - smooth synthetic backgrounds The physicality of the paint should remain visible. -------------------------------------------------- STEP 6 — COMPLETE ACCIDENTALLY CROPPED AREAS -------------------------------------------------- If the original source was photographed or painted too tightly, gently complete the composition. Important artwork should NOT appear accidentally chopped off by the final canvas. Protect: - heads - headdresses - feather tips - hands - feet - clothing - tails - principal animals - ceremonial objects - major glyphs - significant ornaments If additional space is needed, make the overall composition slightly smaller within the canvas rather than cropping the artwork. Do not radically reposition individual elements. Preserve their relationships. Some secondary objects may intentionally leave the frame when this is clearly part of the original composition. Do not automatically "fix" an intentional crop. -------------------------------------------------- STEP 7 — CREATE NATURAL BREATHING ROOM -------------------------------------------------- Give the finished painting enough surrounding space that the artwork feels deliberately composed for the final canvas. For a 24 × 36 or 36 × 24 print, maintain approximately ONE INCH of visual breathing room between important artwork and the final trim edge whenever practical. That means the principal artwork should not appear jammed against: - top edge - bottom edge - left edge - right edge Pay special attention to long feathers, headdresses, hands, feet, tails, plants, and objects extending from the central figure. Every side matters equally. Do not create a large margin on one side while allowing another important element to touch the opposite edge. -------------------------------------------------- STEP 8 — PAINT THE BACKGROUND ALL THE WAY TO THE EDGE -------------------------------------------------- There must be PAINT all the way to every edge of the final canvas. NO blank padding. NO white margins. NO artificial digital borders. NO plain solid-color extension. NO frame. NO matting. When additional canvas is required, extend the existing painted background naturally. Example: If the original has a blue painted background, continue that blue paint outward. The extension must contain authentic-looking variations in: - brush direction - pigment density - hue - tone - visible strokes - overlapping paint marks The extended area must look like the same artist physically continued painting the canvas. It should be impossible to visually identify where the original background ended and the newly completed area began. Do not merely sample one background color and fill the extra area digitally. PAINT it. -------------------------------------------------- STEP 9 — COLOR -------------------------------------------------- Preserve the source painting's actual palette. Do not recolor the work. Maintain the original relationships among colors. Where present, preserve colors such as: - cobalt blue - turquoise - teal - green - deep red - crimson - orange - ochre - golden yellow - cream - white - burgundy - brown - black Restore dull photographed pigment only enough to make it resemble fresh physical paint. Colors may become cleaner, richer, and more luminous, but they must still feel like the SAME pigments used by the artist. Do not introduce trendy contemporary colors. Do not shift the entire palette. -------------------------------------------------- STEP 10 — CULTURAL AND VISUAL FIDELITY -------------------------------------------------- Preserve the cultural visual language already present in the painting. Do not "correct" the artwork using assumptions about historical Mesoamerican art. Do not redesign the work to resemble museum artifacts, codices, archaeological reconstructions, or another artist's work. Do not create fake historical accuracy. This is preservation and refinement of THIS ARTIST'S painting. When uncertain, fidelity to the source is more important than adding culturally plausible detail. -------------------------------------------------- STEP 11 — CLEAN UP ONLY WHAT SHOULD BE CLEANED UP -------------------------------------------------- Remove accidental photographic problems where present: - glare - camera distortion - perspective distortion - uneven lighting - compression artifacts - accidental blur - dust - obvious photographic color casts - unwanted wall/background outside the painting Present the final artwork perfectly straight-on. Do not remove intentional handmade imperfections. Do not make the painting sterile. -------------------------------------------------- STEP 12 — FINAL VISUAL STANDARD -------------------------------------------------- The final result should feel like: The original artist created a new, larger version of the same painting on a fresh canvas. They preserved their original drawing and imagery. They gave the composition enough room to breathe. They completed areas that had previously been constrained by the old canvas. They continued the painted background naturally to all four edges. They refreshed the pigment. They strengthened the paint texture. They preserved their handmade brushwork. They did NOT redesign the artwork. The result should feel: - complete - intentional - balanced - richly painted - handmade - tactile - saturated - refined - gallery-worthy - suitable for a premium art print -------------------------------------------------- STEP 13 — PRODUCTION SAFETY AREA -------------------------------------------------- Important visual elements should remain approximately one inch inside the final trim edge whenever possible. For a final 300 DPI print master: 1 inch = 300 pixels. Therefore the eventual production master should ideally maintain approximately: 300 px safe visual space: - top - bottom - left - right This area is NOT a border. It must consist of naturally continued PAINTED BACKGROUND. The painting itself continues all the way through the safety area and to the final physical edge. -------------------------------------------------- STEP 14 — OUTPUT -------------------------------------------------- Generate ONLY the completed artwork. No frame. No wall mockup. No room. No poster mockup. No matting. No gallery scene. No title. No caption. No signature added. No watermark. No typography. No external border. The output must be a clean image of the finished painting itself. -------------------------------------------------- FINAL PRIORITY ORDER -------------------------------------------------- When instructions compete, follow this priority: 1. Preserve the original artwork. 2. Preserve the original composition and cultural imagery. 3. Prevent important elements from being accidentally cropped. 4. Choose the orientation that naturally fits the work. 5. Give important artwork balanced breathing room on ALL sides. 6. Continue the existing painted background to every edge. 7. Improve physical paint quality and texture. 8. Preserve the original colors. 9. Avoid inventing new visual information. 10. Prepare a beautiful, balanced composition suitable for a fine-art print. FINAL TEST: Before finishing, visually inspect all four edges. Ask: Is anything important accidentally touching an edge? Does the artwork have reasonably balanced breathing room on the top, bottom, left AND right? Does the background look physically painted all the way to every edge? Did I add anything that wasn't actually needed? Does this still look unmistakably like the original artist's painting? If any answer is wrong, correct it before producing the final artwork.