日式艺术馆文化出版物海报提示词

[Theme] {fill in theme}
[Chinese Title] {fill in 2–4 characters}
[English Title] {fill in short English}
[Core Subject] {Person / Artifact / Classical Image / Product / Scene etc.}
[Layout Mechanism] {Ancient Image x Fluorescent Giant Characters / Giant Character Architecture x Subject Interweaving / Person x Geometric Slices / Monochromatic Field x Ultra-thin Vertical Axis / Others}
[Main Color] {fill in}
[Accent Color] {fill in}
[Information Density] {Low / Medium / High}
[Aspect Ratio] 9:16

Generate an image-text poster with the temperament of a mature Japanese art museum, cultural publication, and Editorial Graphic Design. Do not apply a fixed "title + main image + info bar" template; instead, first establish a sufficiently distinct visual action based on the [Layout Mechanism], allowing text, images, color blocks, and the subject to truly participate in the same composition.

Typography must become the visual structure. Chinese or English titles can be extremely enlarged, bleed off the edge, misaligned, cross zones, be obscured by the subject, or conversely press down on the subject; allow the subject to enter the negative space of the glyphs, creating interweaving, obscuring, and front-to-back layers between "words" and "images". Establish obvious scale contrast: giant titles x strong subjects x tiny Micro Typography; do not let all text maintain a similar font size.

Images can be boldly cropped; complete display of the subject is not required. Use ancient paintings, archival photography, portraits, artifacts, plants, or other visual materials based on the theme, but each poster retains only one strongest subject and one strongest compositional conflict. Information density adopts a localized concentration method; dates, English sub-titles, short sentences, and miniature annotations can grow naturally along edges, color blocks, glyphs, or the subject; do not spread them evenly, and do not make it into a card UI.

Color palette controlled within 2–4 main color systems; fluorescent pink, vermilion, orange, cyan, black and white combinations can be used boldly to create a conflict between traditional images and modern colors; large areas of monochromatic fields can also be used, keeping only minimal subjects and text. Allow for slight paper texture, printing overprint feel, or handmade marks, but do not heavily age, soil, or pixelate with noise.

The final effect should look like a truly art-directed Japanese cultural poster: bold image-text relationships, individualistic layouts, rich but orderly information, with each work having an independent visual action rather than the same template with swapped content.

Avoid: ordinary top-title bottom-image layouts, regular grids, card UI, PPT-style information modules, bilateral symmetry, all subjects fully centered, meaningless English, random gibberish, excessive CG, cheap vintage filters, numbering 01 / 02 / Vol., four-pointed stars, and sparkles.

【主题】{填写主题}　
【中文标题】{填写 2–4 个字}　
【英文标题】{填写简短英文}　
【核心主体】{人物 / 器物 / 古典图像 / 产品 / 场景等}　
【版式机制】{古图 × 荧光巨字 / 巨字建筑 × 主体穿插 / 人物 × 几何切片 / 单色场 × 极细纵轴 / 其他}　
【主色】{填写}　
【强调色】{填写}　
【信息密度】{低 / 中 / 高}　
【画幅】9:16

生成一张具有成熟日本美术馆、文化出版物与 Editorial Graphic Design 气质的图文海报。不要套用固定“标题 + 主图 + 信息栏”模板，而是根据【版式机制】先建立一个足够鲜明的视觉动作，让文字、图像、色块和主体真正参与同一套构图。

Typography 必须成为视觉结构。中文或英文标题可以极端放大、出界、错位、跨区、被主体遮挡或反过来压住主体；允许主体进入字形负空间，让“字”和“图”产生穿插、遮挡与前后层次。建立明显的尺度反差：巨大标题 × 强主体 × 极小 Micro Typography，不要让所有文字保持接近字号。

图像可大胆裁切，不要求完整展示主体。根据题材使用古画、档案摄影、人物肖像、器物、植物或其他视觉素材，但每张海报只保留一个最强主体和一个最强构图冲突。信息密度采用局部集中方式，日期、英文副题、短句和微型注释可以沿边缘、色块、字形或主体自然生长，不要平均铺满，也不要做成卡片 UI。

配色控制在 2–4 个主要色系内，可以大胆使用荧光粉、朱红、橙色、青绿、黑白等组合，让传统图像与现代颜色形成冲突；也可以采用大面积单色场，只保留极少主体与文字。允许轻微纸张纹理、印刷套色感或手作痕迹，但不要严重做旧、脏污或噪点化。

最终效果要像真正经过艺术指导的日式文化海报：图文关系大胆、版式有个性、信息丰富但有秩序，每张作品都有独立视觉动作，而不是同一个模板换内容。

避免：普通上标题下图片、规则网格、卡片 UI、PPT 式信息模块、左右对称、所有主体完整居中、无意义英文、随机乱码、过度 CG、廉价复古滤镜、编号 01 / 02 / Vol.、四角星芒和 sparkle。