左右构图编辑设计展览海报提示词

[Subject / Work Title]: ____
[Left State]: ____
[Right State]: ____
[Relationship Type]: Front and Back / Concept and Finished Product / Source and Dissemination / Entity and Translation / Other
[Central Axis Change]: ____ → ____ → ____
[Chinese Title]: ____
[English Title]: ____
[Main Color Tone]: ____
[Auxiliary Color]: ____
[Aspect Ratio]: 9:16

Generate a poster with a left-right composition featuring mature Editorial Design and exhibition visual texture.

Do not simply cut the screen into two left and right columns; instead, let the left and right visual areas express different states of the same theme, and let the "middle boundary" be where the change actually occurs.

Use an unequal proportion layout for the left and right areas, using relationships like 40:60, 45:55, 55:45 according to the weight of the subject; do not use a mechanical 50:50. The left side is responsible for establishing the starting point or original state, and the right side is responsible for showing the result after the change, for example:
Front side of the work → back structure and production path;
Design sketch → real space after completion;
Sound source subject → outward-diffusing vibrations and sound fields;
Real entity → rubbings, traces, or images on paper.

The most important thing is the central axis translation. Do not use obvious vertical lines to separate; instead, choose a core element to pass through the left and right areas and undergo continuous changes when crossing the central axis.

For example: flower petals gradually turn into stitches and threads; architectural line drawings gradually turn into real walls; object vibrations gradually diffuse into sound waves; stone relief carvings are gradually flattened into black ink rubbings.

This change must be continuous and natural, allowing the audience to understand at a glance that there is a causal, process, or translation relationship between the left and right sides, rather than two unrelated pictures spliced together.

Typography also participates in the left-right relationship, but all text must belong to the work itself. Use real work titles, subtitles, short sentences, and exhibition information; do not use template placeholder text like "Left-Right Composition," "Design Case," or "Visual Research."

Reduce information on the side with heavier images; the emptier side can bear more titles and text, completing visual weighting through font size, density, and position.

Control colors within 2–4 main color systems. The left and right can have obvious differences in light and dark, cold and warm, or materials, but at least one color, texture, or visual element must cross the central axis to ensure the unity of the entire work.

Final reading order: First see two clearly different visual states on the left and right; second, discover the connection and change happening at the central axis; third, understand "why the left side becomes the right side"; finally, read the title and work information.

Overall requirements: The two visual fields each have a role, there is a clear translation process in the middle, left and right are uneven but visually balanced, with both content logic and a sense of a mature work.

【主题 / 作品名】：____
【左侧状态】：____
【右侧状态】：____
【关系类型】：正面与背面 / 概念与成品 / 来源与传播 / 实体与转译 / 其他
【中轴变化】：____ → ____ → ____
【中文标题】：____
【英文标题】：____
【主色调】：____
【辅助色】：____
【画面比例】：9:16

生成一张具有成熟 Editorial Design 与展览视觉质感的左右构图海报。

不要简单把画面切成左右两栏，而是让左右两个视觉区域表达同一个主题的不同状态，并让“中间边界”成为变化真正发生的位置。

左右区域采用不等比例布局，根据主体重量使用 40:60、45:55、55:45 等关系，不要机械 50:50。左侧负责建立起点或原始状态，右侧负责展示变化后的结果，例如：
正面作品 → 背后的结构与制作路径；
设计草图 → 建成后的真实空间；
声源主体 → 向外扩散的振动与声场；
真实实体 → 纸面上的拓印、痕迹或图像。

最重要的是中轴转译。不要用明显竖线分隔，而要选择一个核心元素穿过左右区域，并在跨越中轴时连续发生变化.

例如：花瓣逐渐化成针脚和丝线；建筑线稿逐渐变成真实墙面；器物震动逐渐扩散成声纹；石刻浮雕逐渐压平成为黑墨拓印。

这种变化必须连续、自然，让观众一眼理解左右两边存在因果、过程或转译关系，而不是两张无关图片拼在一起。

Typography 也参与左右关系，但所有文字必须属于作品本身。使用真正的作品标题、副标题、短句和展览信息，不出现“左右构图”“设计案例”“视觉研究”等模板占位文字。

图像较重的一侧减少信息，较空的一侧可以承担更多标题与文字，通过字体大小、密度和位置完成视觉配重。

色彩控制在 2–4 个主要色系。左右可以有明显明暗、冷暖或材质差异，但至少保留一种颜色、纹理或视觉元素跨越中轴，保证整张作品统一。

最终阅读顺序：第一眼看到左右两种明显不同的视觉状态；第二眼发现中轴处正在发生连接和变化；第三眼理解“左边为什么会变成右边”；最后再阅读标题与作品信息。

整体要求：两个视觉域各有作用，中间有明确转译过程，左右不平均但视觉平衡，既有内容逻辑，也有成熟作品感。