高級日式文字海報提示詞

[Theme / Project Name]: {Fill in, e.g., plant exhibition, material research, utensil exhibition, brand product} [Main Visual Text]: {Fill in a Chinese / Japanese / English keyword suitable for enlargement} [Core Subject / Pattern]: {Fill in, e.g., plants, utensils, products, streamlines, geometric patterns} [Graphic-Text Interaction]: {Interspersing / Occlusion / Circumnavigating / Refraction / Embedding / Front-Back Layering} [Main Color Tone]: {Fill in} [Auxiliary Colors]: {Fill in 1–2} [Brand / Exhibition Info]: {Brand name, English subtitle, date, location, keywords, etc.} [Aspect Ratio]: 9:16 Generate a high-end Japanese typography poster. Do not adopt the ordinary layout of "subject in the middle, title on the side." Instead, first use ultra-large Typography to establish the visual skeleton of the entire image, then let the [Core Subject / Pattern] truly enter the text structure, creating a clear [Graphic-Text Interaction] with the glyphs. The main visual text should be large enough, allowing local parts to exceed the layout, be cropped, misplaced, or pressed against the edges, making the text first become the geometric large shape of the image. The subject and text must have a real front-back relationship: some subjects are in front of the characters, some enter behind the characters or into the negative space; if using elements like streamlines, plants, liquids, or glass, they should be made to circumnavigate, occlude, refract, or undergo morphological changes because of the text structure, rather than simply covering the surface of the text. Use a rigorous but not rigid asymmetrical editorial grid. The image can simultaneously use large characters, small characters, vertical layout, edge information, thin lines, and a few image modules, but needs to maintain a clear visual hierarchy. From a distance, first see the main text, subject, and large color blocks; at a medium distance, see the interaction between graphics and text; at a close distance, only then read the complete brand, exhibition, or product information. Establish a real information system: the main visual text is primary information; the project name / brand name / English subtitle are secondary information; the date, location, creator, product description, research keywords, etc., are distributed as tertiary small information on the layout edges and white space areas. Do not use Lorem Ipsum or a large amount of meaningless English; small text should also look like information in real cultural posters, brand visuals, or design publications. Control colors within 3–5 main colors, based on the [Main Color Tone], combined with [Auxiliary Colors] and a small amount of black, white, and gray. Overall use complete, clean, saturated printed color surfaces, combined with high-quality matte art paper, extremely light paper fiber, and restrained offset printing texture. Do not use obvious distressing, damage, yellow spots, strong grain, or cheap vintage filters. The final image should have a fusion of contemporary Japanese graphic design, cultural exhibition posters, brand Editorial Design, and Typography experiments. The focus is not "arranging text beautifully," but letting text, subjects, patterns, and information truly form a unified visual system, making each poster look like a complete work rather than applying the same template. Avoid: ordinary centered layout, complete separation of graphics and text, subject simply pressing on text, all elements on the same plane, meaningless English, random small text, UI cards, rounded corner modules, excessive minimalism causing an empty image, excessive collage causing chaos, neon gradients, cheap 3D, obvious distressing, four-pointed stars, sparkle, No.01, Vol.01, or other numbered series markings.