译文
Create a high-fidelity "Oblique Planar Perspective Typographic Poster" based on the user's input of [core text/word/phrase/short sentence/letters].
User input: [Theme Text];
Language of text: [Chinese/English/Mixed Chinese and English];
Optional supplementary context: [____];
Optional emotional tendency: [____];
Optional banned elements: [____].
This is not a regular illustration, not a simple enlarged typography poster, nor is it a traditional flat layout. It is a modern experimental typography poster with "text as the main visual core." The overall design must use the "Oblique Planar Perspective Typography" method: the text should not be completely flat on the surface, but should be placed as if in different tilted two-dimensional planes. Through oblique baseline, perspective compression, plane deflection, angle cut-in, misalignment composition, vector direction, directional lines, semi-transparent geometric planes, and modular color blocks, a typography composition effect with "still flat design but with obvious angular sense, spatial directional sense, visual tension, and vector relationship" is established.
Firstly, truly understand the literal meaning, emotional temperament, implicit symbolism, cultural association, psychological feeling, and semantic tension of the user's input content, and then translate these understandings into a typography poster system with "directionality, oblique relationship, plane perspective sense, and visual confrontation/connections." If the theme is emotional, focus on expressing through the distance relationship of oblique text planes, center of gravity shift, blank direction, line trend, module density change, and color block compression/release; if the theme is action-oriented, focus on expressing through oblique propulsion, speed lines, directional arrows, perspective slices, misaligned planes, and vector trajectories; if the theme is relational, focus on expressing through the angular difference, intersection, overlap, confrontation, wrapping, cutting, and mediating structure between multiple text subjects, geometric planes, and graphic modules; if the theme is abstract concept-oriented, first find a simple but visually translatable abstract metaphor, and then construct the image through oblique perspective typography, vector auxiliary system, local occlusion, hierarchical shift, module repetition, and deformation grid.
The overall image must present a high-completion typography poster that is modern, sharp, bright, fashionable, experimental, communicative, and has a visual memory point. The user's input text must become the first visual subject and the core content of the poster. The text can be horizontally or vertically arranged, split, misaligned, grouped, reorganized, locally cropped, locally obscured, nested, tilted, perspective compressed, obliquely rotated, and even placed in different angles of two-dimensional planes, but must maintain a high degree of recognition and readability. The audience should clearly feel that the text is no longer flat but has entered a plane space system composed of multiple tilted planes and directional relationships.
Please emphasize the following style features: text with oblique angle sense, perspective sense of near large and far small, vector relationships in different directions, oblique baseline, auxiliary arrows, geometric sections, module propulsion, local frame lines, data sense annotations, small catalog-style auxiliary descriptions, a few dot matrices and path lines. Different texts or text groups can be placed in different tilted planes to form perspective differences, directional conflicts, visual dialogues, or tension relationships. Graphic elements must be constructed around the text, not as independent decorations; they should support the text, cut the text, wrap the text, extend the direction of the text, and strengthen the oblique dynamic force of the text, and together constitute a complete visual sentence.
In terms of visual language, adopt the direction of modern graphic design, oblique planar perspective typography, experimental typography, bold typographic composition, flat vector aesthetics, high-contrast graphic layout, contemporary editorial poster, and crisp vector-like precision. The overall design is not realistic, not photography, not vintage literary cover, not Bauhaus old poster feel, not thick texture style, not dark art poster, nor a regular PPT cover. It should be a more contemporary, brighter, sharper, more digital, and more design company proposal and exhibition poster-like visual result.
[New Color Requirements]
The color must be bright, transparent, bright, brilliant, and high-contrast, but do not fix the use of blue and orange combinations, nor fall into common blue and orange clash color schemes. Please generate a set of bolder, more imaginative, and fresher modern high-contrast color combinations according to the theme semantics, emotional temperament, and visual metaphor. Allow the use of unconventional combinations, jumping colors, strong clashes, cold and warm conflicts, neon sense, digital sense, futuristic sense, or artistic color combinations, but the overall must still have order, aesthetic control, and a sense of design, and cannot be chaotic and out of control.
Please prioritize the color organization method of "2 main colors + 1 to 2 highlight accent colors + blank/structural support color." Explore but not limited to the following directions: fluorescent green + fuchsia + cool white, bright yellow + violet + black, lemon green + deep purple + blue, magenta + green + silver white, cherry red + lake blue + pure white, mint green + bright red + deep blue, fluorescent yellow + peach red + purple, coral orange + blue + white, multi-color digital splicing color combinations, etc. Try to form a set of independent color memory points each time, do not repeat a single fixed main color, and do not let the works in the series all look like the same picture with different words.
The color of the text should not be all black. According to the composition relationship, different text subjects can use different high saturation colors, or form a main and secondary color distribution in the same group of large characters. A small amount of dark color can be used as a structural support point, but the overall picture should be bright, transparent, eye-catching, and avant-garde in color impression. Colors should serve semantic expression, not just for热闹; make the audience feel that the colors are "designed," not randomly stacked.
The composition should be bold, tilted, have a sense of propulsion and direction, but at the same time, control the picture order. It is recommended to use 1 group of core title subjects, 1 group of oblique perspective text plane systems, 1 group of geometric vector and color block structures, a few auxiliary annotation information and point line symbols. The picture needs to retain enough blank space to make high saturation colors and tilted text have a sense of breathing and exhibition poster feel. A few small characters, tags, numbers, English keywords, minimalist subtitles or short sentences can be added to strengthen the concept, but they must be controlled and not抢夺 main title's visual weight. Auxiliary information can simulate visual recognition system or annotation language in editing design, such as short words, parameters, indexes, direction descriptions, concept tags, etc.
Font and layout must be modern, clear, eye-catching, powerful, and have a certain experimental nature. Chinese is suitable for using geometric sans-serif, title fonts with strong modern design sense, narrow and long characters, or characters with a sense of section; English is suitable for using bold grotesk, condensed sans, geometric sans, editorial sans, etc. Local stretching, compression, oblique cutting, perspective deformation, slicing misalignment are allowed, but do not make the text into real 3D extruded characters, heavy shadows, real 3D modeling, metal characters, glass characters, or bas-relief characters. The focus is "space sense in the plane," not "physical three-dimensional sense."
Graphic elements can use: oblique rectangles, tilted plane frames, triangular cut angles, dot systems, arrows, path lines, fine line auxiliary grids, perspective frames, directional vectors, dot matrix modules, data sense short lines, color block surfaces, semi-transparent geometric slices, local circular lines, zoning tags, small size index information, etc. These elements must serve the theme semantics and typography composition and should not be reduced to pure decoration.
Please avoid the following issues: do not make a regular flat layout typography poster, do not make a traditional minimalist cover, do not make realistic photography or illustration, do not make thick 3D characters, do not make retro low saturation or beige tone posters, do not stack unrelated graphics, do not over-decorate, do not make the text unreadable, do not make the picture dirty and crowded, do not make the graphics and theme words disconnected, do not repeatedly default to the same set of main colors.
If appropriate, automatically generate a very short subtitle or concept short sentence to assist in explaining the theme, such as "Between ____ and ____," "The tension of ____," "A state of ____," "Where ____ begins," or generate a simpler Chinese short sentence according to the Chinese context, but it must be concise, controlled, and designed.
The final output should be a modern typography concept poster that is high-fidelity, modern, bright, high-contrast, flat, sharp, highly experimental, with a sense of oblique perspective typography composition, readable and designed, and with bolder and freer color matching, more imaginative, and not falling into the fixed blue and orange套路.
桃子AI画廊Tao Image Gallery
