东亚当代实验性压角构图海报提示词

[Theme]
[Four-character Chinese Title]
[Main Visual Material] Fluid / Flexible Film / Molten Material / Grains / Other Dynamic Materials
[Physical Change] Diffusion / Stretching / Melting / Vibration / Accumulation / Flowing
[Main Background Color]
[Main Font Color]
[Accent Color]
[English Title]
[Aspect Ratio] 9:16

Generate an experimental vertical poster with the temperament of East Asian Contemporary Exhibition Poster, Japanese Experimental Graphic Design, Editorial Art Direction, and Corner-Pressure Composition. Corely use "Corner-Pressure Composition": split the [Four-character Chinese Title] into four huge Chinese characters, forcefully pressing into the center of the frame from the top-left, top-right, bottom-left, and bottom-right. The four characters should not be equal in size, equidistant, or form a four-grid; instead, establish obvious inward pressure through different font sizes, cropping, bleed amounts, and depth of entry into the center.

In the center of the frame, set a [Main Visual Material] with sufficient volume, and form a visual potential energy that is opposite to or interacts with the typography in the four corners through [Physical Change]. The focus is not "putting the subject in the middle of the text", but letting the material itself truly participate in the layout: fluids can diffuse outward and block parts of the strokes; flexible films can be stretched by the pulling force of the four corners to form spatial structures; molten materials can gradually soften from a solid state, sag, and change the visual state of the text behind them; grains can automatically accumulate into regular patterns due to vibration or physical action. Choose only one strongest physical mechanism for each work to avoid stacking too many special effects simultaneously.

The subject must have real, credible material properties and physical logic. For example, fluids need to have continuous concentration, entrainment, and diffusion relationships; flexible materials need to have real force points, stretching textures, wrinkles, and contact shadows; molten materials need to reflect the continuous state change from solid to softening to flowing; grains must have real particle sizes, density changes, accumulation and scattering, rather than digital particle effects. Let the audience clearly feel that "the material is moving, deforming, or responding to external forces", rather than ordinary 3D abstract shapes.

Typography is divided into three levels: the four-corner huge Chinese characters are responsible for the first vision; the [English Title] and the Chinese work name are responsible for the second level; dates, locations, short sentences, material keywords, and a small amount of instructions are responsible for the third level. Use obvious font size contrast, asymmetrical alignment, local vertical Chinese, compact English, and extremely thin divider lines to establish a mature sense of editorial design. Information density remains medium-high, but do not fill the screen evenly; it should form locally dense areas around the subject while retaining some clean negative space.

The overall color is controlled within 3–4 main levels. [Main Background Color] as a large-area color field, [Main Font Color] establishes a stable structure, [Main Visual Material] carries the most important shape and texture, and [Accent Color] is only used for a very small amount of short lines, date nodes, force points, or editorial marks. Extremely light paper texture, screen printing dots, offset printing grains, and local overprinting feel can be added, but the overall must remain modern, clean, and high-end.

The interaction between image and text should form at least 2–3 clear relationships, such as the subject passing through the front and back of large characters, using reversed-out white text in high-density areas, fluids extending along the direction of strokes, grains gathering near strokes, flexible materials truly blocking part of the Chinese characters, or transparent/translucent materials causing natural visual changes to the text behind. All interactions must be reasonable, understandable, and ensure that the four core Chinese characters remain recognizable.

The final reading order should be: first glance at the strong large shape formed by the four-corner giant characters and the central dynamic subject; second glance finding that the material is diffusing, stretching, melting, or vibrating; third glance understanding how real physical phenomena change the Typography and layout; finally reading the English title and a small amount of exhibition information. In the thumbnail state, it must have a clear focus, strong color contrast, and Stop-scroll impact, and after zooming in, material details and sophisticated editorial layout can be seen.

Avoid: mechanical four-grids, four characters being completely equal in size, subject being too small, material and font being separated from each other, ordinary abstract 3D Blobs, abuse of liquid metal, digital particles, random smoke, RGB glitch, cyberpunk, tech HUD, complex parameters, meaningless English, Logos, QR codes, numbering, four-pointed stars, and copyright marks.

【主题】  
【四字中文标题】  
【主视觉材质】流体 / 柔性膜 / 熔融材料 / 颗粒 / 其他动态材料  
【物理变化】扩散 / 拉伸 / 熔化 / 振动 / 聚集 / 流动  
【背景主色】  
【字体主色】  
【强调色】  
【英文标题】  
【画面比例】9:16

生成一张具有 **East Asian Contemporary Exhibition Poster、Japanese Experimental Graphic Design、Editorial Art Direction、Corner-Pressure Composition** 气质的实验性竖版海报。核心使用“压角构图”：将【四字中文标题】拆成四个巨大汉字，从左上、右上、左下、右下向画面中心强势压入。四字不要等大、等距或形成四宫格，而是通过不同字号、裁切、出血量和进入中央的深度建立明显的向内压力。

画面中央设置一个体量足够大的【主视觉材质】，并通过【物理变化】形成与四角 Typography 相反或互相作用的视觉势能。重点不是“主体放在文字中间”，而是让材料本身真正参与版式：流体可以向外扩散并遮挡部分笔画；柔性膜可以被四角拉力撑开形成空间结构；熔融材料可以从固态逐渐软化、下坠并改变后方文字的视觉状态；颗粒可以因振动或物理作用自动聚集成具有规律的纹样。每张作品只选择一种最强的物理机制，避免同时堆叠过多特效。

主体必须具有真实、可信的材料属性和物理逻辑。例如流体需要有连续的浓度、卷吸和扩散关系；柔性材料需要有真实受力点、拉伸纹理、褶皱和接触阴影；熔融材料需要体现从固态、软化到流动的连续状态变化；颗粒必须具有真实粒径、密度变化、堆积与散落，而不是数字粒子特效。让观众明确感受到“材料正在运动、变形或响应外力”，而不是普通 3D 抽象造型。

Typography 分为三个层级：四角巨大中文字负责第一视觉；【英文标题】和中文作品名负责第二层；日期、地点、短句、材料关键词和少量说明负责第三层。使用明显字号反差、不对称对齐、局部竖排中文、紧凑英文和极细分隔线建立成熟的编辑设计感。信息密度保持中高，但不要平均铺满画面，应围绕主体形成局部密集区域，同时保留一部分干净负空间。

整体色彩控制在 3–4 个主要层级。【背景主色】作为大面积色域，【字体主色】建立稳定结构，【主视觉材质】承担最主要的形态与质感，【强调色】只用于极少量短线、日期节点、受力点或编辑标记。可以加入极轻纸张纹理、丝网印刷网点、胶印颗粒和局部套印感，但整体必须保持现代、干净、高级。

图文互动至少形成 2–3 处明确关系，例如主体从巨大字形前后穿过、在高密度区域使用反白文字、流体沿字形方向延伸、颗粒靠近笔画聚集、柔性材料真实遮挡部分汉字，或透明/半透明材料让后方文字产生自然视觉变化。所有互动都必须合理、可理解，并保证四个核心汉字仍然可辨认。

最终阅读顺序应为：第一眼看到四角巨字与中央动态主体形成的强烈大形；第二眼发现材料正在扩散、拉伸、熔化或振动；第三眼理解真实物理现象如何改变 Typography 和版面；最后阅读英文标题与少量展览信息。缩略图状态下必须具备明确焦点、强色彩对比和 Stop-scroll 冲击，放大后又能看到材料细节与精密编辑排版。

避免：机械四宫格、四字完全等大、主体过小、材料与字体彼此分离、普通抽象 3D Blob、液态金属滥用、数字粒子、随机烟雾、RGB glitch、赛博朋克、科技 HUD、复杂参数、无意义英文、Logo、二维码、编号、四角星芒和版权标识。