译文
[Theme / Title of Work]: [Theme]
[Left Content]: [Left Content]
[Right Content]: [Right Content]
[Left and Right Relationship]: Overall and Local / Original and Result / Instant and Expansion / Dense and Blank / Others
[Cross-Sectional Connection Method]: Subject Overflow / Material Translation / Color Expansion / Mist Transition / Action Trajectory / Others
[Chinese Title]: [Chinese Title]
[English Title]: [English Title]
[Main Color Scheme]: [Main Color]
[Accompanying Colors]: [Accompanying Colors]
[Image Ratio]: 9:16
Generate a poster with a mature Editorial Graphic Design and exhibition visual quality, featuring a left-right composition.
The core is not to mechanically divide the image into two equal halves on the left and right, but to establish two visually distinct regions with different visual weights, but with a clear relationship between them.
The ratio of left and right sides should not be fixed at 50:50, but can adopt different proportions such as 35:65, 40:60, 45:55, 60:40, etc., through the size of the subject, the depth of color, the density of information, and the blank to complete the visual balance.
The left and right sides should undertake different visual tasks, for example: one side displays the complete subject, and the other side enlarges the local texture; one side presents the original material, and the other side shows its transformed visual result; one side freezes a person or object, and the other side extends the action, trajectory, or energy; one side maintains a high-density image, and the other side uses large areas of blank and Typography to achieve balance.
The most important is the "middle boundary". Do not use a rigid vertical line to divide columns, but let at least one core element cross the left and right regions, so that the two sides are truly connected:
The subject's local area naturally overflows; the material gradually changes from a solid to a flat image; color, ink, or texture extends across the region; the action trajectory extends from one side of the subject to the other; mist, light and shadow, or spatial structure dissipates naturally at the boundary. Let the central axis become the "position where relationships occur" rather than a simple dividing line.
Typography is organized according to the content of the work. The main title, short sentences of the work, and auxiliary information must be related to the theme itself, and do not use template placeholder text such as "left-right composition", "design case", "visual research", etc.
Text can participate in the left-right balance: reduce text on the side with heavier images, increase titles or information on the side with more blank; or let the title cross the boundary, interweaving with the subject.
Color control is within 2-4 main color systems. There can be obvious cold and warm, light and dark, or material contrast between left and right, but there must be at least one color, texture, or text system as a visual connection, to avoid looking like two pictures that are glued together.
Maintain enough breathing space through: unequal proportions, visual balance, subject overflow, material translation, changes in density, Typography interweaving to establish a sense of design in the left-right relationship.
The final reading order should be clear: first, feel the visual contrast between the left and right sides; second, discover the connection or change at the central axis; third, understand the content relationship between the two regions; finally, read the title and work information.
Overall requirements: the left-right relationship is clear but not rigid, the two regions have their own functions and belong to the same work, have visual levels, content logic, and mature Editorial Poster quality.
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