东方艺术展览海报提示词

[Theme]: {Fill in theme, e.g.: Light and Shadow / Refraction / Visage / Smoke Trails} [Core Subject]: {Fill in a real object with strong silhouette and texture} [Wild Character Content]: {Fill in 2 Chinese characters related to the theme} [Main Subject Color]: {e.g.: Amber Gold / Cobalt Blue / Dark Wood Brown / Cinnabar Red} [Interaction between Subject and Text]: {Refraction / Projection / Interspersing / Occlusion / Dissolution / Cutting / Stretching, etc.} [English Auxiliary Title]: {Fill in a short English title} [Exhibition Information]: {Theme / Date / Location, can be filled in freely} [Aspect Ratio]: 9:16 Design a high-completion Oriental cultural art exhibition poster, the core visual method is "strong subject + giant wild characters + real texture interaction". The overall feel should have Oriental cultural temperament, and also possess the visual impact of modern editorial design and experimental typography. Use clean and warm ivory white or warm beige art paper for the background, retaining only slight natural paper texture. Avoid complex backgrounds, heavy aging, stains, cracks, or strong grain, letting large areas of warm white negative space become an important component of the entire layout. Use the two Chinese characters from [Wild Character Content] as the primary typography. The characters must be very huge, heavy, and free, with obvious brush strokes (pressing and lifting), thickness variations, natural flying-white, and realistic ink edges; some strokes can directly exceed the frame. The two characters should not be neatly arranged like conventional titles; they can be misplaced, overlapped, interspersed, or staggered up and down. They should first be a set of strong black visual shapes that form a clear, oppressive large form even when viewed small. Place a giant [Core Subject] in the center of the frame or the main visual focus, the subject occupying about 35%–55% of the frame. The object needs to have photography-level volume, material, structure, light and shadow; the silhouette must be clear, not reduced to an ordinary product display size. The subject retains the [Main Subject Color], making it the primary color anchor besides the black calligraphy. Control other colors in the frame as much as possible, letting the subject's material itself bear the visual variation rather than increasing complexity through additional decorative colors. The most important thing is to let the subject and the giant wild characters truly undergo [Interaction between Subject and Text], rather than simply placing the object in front of the text. The interaction relationship must come from the object's own real or reasonable physical properties, so the viewer can understand at first glance that "this subject is changing the text." For example, transparent glass can refract, enlarge, or distort strokes; paper lamps can project calligraphy as shadows; smoke can block, dissolve, or extend ink marks; solid objects can intersperse with the text in front and behind or embed into negative space; a subject in motion can pull, push, cut, or change the calligraphy structure. Establish clear front, middle, and back spatial layers between the subject and the text. Some strokes can be located behind and obscured by the object, while another part comes to the front of the object, letting the real subject and typography interlock in space rather than staying as a 2D overlay. Use an asymmetric editorial design overall. The central area is responsible for "giant wild characters + strong subject + core interaction," while the left and right edges and remaining negative space areas include small-sized exhibition information, making the visual center strong enough while maintaining the information density of cultural publications. Add a small amount of natural, loose handwritten English [English Auxiliary Title], like annotations personally written by the designer on the poster afterwards. The English should not be too large, nor use regular commercial fonts, making it an intermediate layer between the wild characters and the rational small text. Add small information like dates, locations, exhibition themes, material keywords, and short descriptions to the left and right edges, which can be organized using narrow columns, vertical arrangements, or local misalignments. The amount of information can be rich, but the font must be significantly smaller than the subject and wild characters, so it does not compete with the central main visual. Control the overall color scheme to warm ivory white background, deep ink black wild characters, [Main Subject Color], and a small amount of the subject's natural material colors. A very small number of vermilion seals can be added as an Oriental visual highlight, but do not use large amounts of red decoration, and avoid a red-gold festive feel.