Based on the user's input [core text/word/phrase/short sentence/letter], create a highly finished "Oblique Planar Perspective Typographic Poster".
User input: [theme text];
Text language: [Chinese / English / Chinese-English mixed];
Optional supplementary context: [____];
Optional emotional tendency: [____];
Optional prohibited elements: [____].
This is not an ordinary illustration, not a simple text effect poster by enlarging text, nor a traditional front-facing flat layout. It is a modern experimental typographic poster with "text as the core visual". The overall design must adopt "Oblique Planar Perspective Typography": the text should not be placed flat on the frontal plane, but rather appear as if positioned on two-dimensional planes at various tilt angles. Through oblique baselines, perspective compression, planar deflection, angular cuts, dislocated compositions, vector directions, directional lines, semi-transparent geometric planes, and modular color blocks, establish a typographic effect that remains "flat design but with distinct angularity, spatial directionality, visual tension, and vector relationships".
First, truly understand the literal meaning, emotional temperament, implicit symbolism, cultural associations, psychological feelings, and semantic tension of the user's input content. Then translate this understanding into a typographic poster system with "directionality, oblique relationships, planar perspective, and visual confrontation/connection". If the theme is emotion-oriented, emphasize through distance relationships of slanted text planes, center of gravity shifts, white space direction, line trends, modular density changes, and color block pressure/release. If the theme is action-oriented, emphasize through oblique propulsion, speed lines, direction arrows, perspective slices, dislocated planes, and vector trajectories. If the theme is relationship-oriented, emphasize through angle differences, intersections, overlaps, confrontations, wrappings, cuts, and mediating structures between multiple text subjects, geometric planes, and graphic modules. If the theme is abstract concept-oriented, first find a concise but visually translatable abstract metaphor, then construct the image through oblique perspective typography, vector auxiliary systems, partial occlusion, hierarchical shifts, modular repetition, and deformed grids.
The overall image must present a modern, sharp, clear, fashionable, experimental, communicative, and visually memorable high-quality typographic poster. The user's input text must become the primary visual subject, the core content of the entire poster. Text can be horizontal, vertical, split, dislocated, grouped, reorganized, partially cropped, partially occluded, nested, tilted, perspective-compressed, obliquely rotated, or even placed on two-dimensional planes at different angles, but must always maintain high recognizability and clear readability. The viewer should at least clearly feel that the text is no longer flat on the front but has entered a planar spatial system composed of multiple tilted planes and directional relationships.
Please emphasize the following style features: text with oblique angularity, planar perspective with near-large and far-small, vector relationships in different directions, oblique baselines, auxiliary arrows, geometric cut planes, modular progression, local framing lines, data-like annotations, small directory-like auxiliary notes, and a few dot matrix/path lines. Different texts or text groups can be placed on different tilted planes, forming perspective differences, directional conflicts, visual dialogues, or tension relationships with each other. Graphic elements must be built around the text, not as independent decorations; they should support the text, cut it, wrap it, extend its direction, reinforce its oblique momentum, and together with the text form a complete visual sentence.
Visually, 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, crisp vector-like precision. The overall effect is not realistic, not photographic, not a retro literary cover, not a Bauhaus old poster feel, not a heavy texture style, not a dark art poster, nor an ordinary PPT cover. It should be more contemporary, clearer, sharper, more digital, more like a design agency proposal and exhibition poster.
【New Color Scheme Requirements】
Colors must be bright, translucent, clear, vivid, high-contrast, but not fixed on blue and orange combinations, nor default into common blue-orange collision schemes. Automatically generate a bolder, more imaginative, and fresher modern high-contrast color palette based on the theme semantics, emotional temperament, and visual metaphor. Allow unconventional combinations, jumpy colors, strong clashes, cold-warm conflicts, neon feel, digital feel, futuristic or artistic color schemes, but overall must maintain order, aesthetic control, and design sense, not chaotic.
Prefer the organization method of "2 main colors + 1 to 2 high-brightness accent colors + white space/structural anchor color". Explore but not limited to: fluorescent green + magenta + cool white, bright yellow + violet + black, lime green + deep purple + cyan, rose red + cyan + silver white, cherry red + lake blue + pure white, mint green + bright red + dark blue, fluorescent yellow + peach red + purple, coral orange + cyan + white, colorful digital splicing colors, etc. Each generation should form an independent set of color memory points, not repeat a single fixed main color scheme, nor make the series look like the same image with different text.
Text color should not all be pure black. Different text subjects can use different high-saturation colors, or assign primary-secondary colors within the same large text group. Allow a small amount of dark color as structural anchor, but the overall image should be dominated by bright, clear, eye-catching, avant-garde color impressions. Colors should serve semantic expression, not just for excitement; let the audience feel the colors are "designed", not randomly piled.
Composition should be bold, tilted, with propulsion and direction, while maintaining order. Recommended composition: 1 core title subject, 1 set of oblique perspective typography plane system, 1 set of geometric vectors and color block structures, a small amount of auxiliary annotation information and point-line symbols. Leave enough white space to give high-saturation colors and tilted text breathing room and exhibition poster feel. Add a small amount of small text notes, labels, numbers, English keywords, minimal subtitles or short sentences to strengthen the concept, but must be restrained, not competing with the main title. Auxiliary information can simulate visual identity system or editorial design annotation language, such as short words, parameters, indexes, direction descriptions, concept labels.
Typography and layout must be modern, clear, striking, powerful, and somewhat experimental. Chinese suitable for geometric sans-serif, modern design-strong headline fonts, narrow and long characters, or faceted characters; English suitable for bold grotesk, condensed sans, geometric sans, editorial sans, etc. Allow local stretching, compression, oblique cutting, perspective deformation, slice displacement, but do not make text into real 3D extruded text, no heavy shadows, no realistic 3D modeling, no metal text, no glass text, no embossed text. The focus is "spatiality in flatness", not "physical three-dimensionality".
Graphic elements can use: oblique rectangles, tilted planar frames, triangular chamfers, dot systems, arrows, path lines, thin line auxiliary grids, perspective borders, direction vectors, dot matrix modules, data-like short lines, color block patches, semi-transparent geometric slices, local ring lines, partition labels, small-size index information, etc. All these elements must serve the theme semantics and typographic composition, not become pure decoration.
Avoid the following: do not make a normal front-flat typographic poster, do not make a traditional minimalist typography cover, do not make a realistic photography or illustration, do not make heavy 3D text, do not make a retro low-saturation or beige-tone poster, do not pile unrelated graphics, do not over-decorate, do not make text unreadable, do not make the image messy and crowded, do not let graphics disconnect from theme words, do not repeatedly default to the same main color scheme.
If appropriate, automatically generate a very short subtitle or concept phrase to help explain the theme, e.g., "Between ____ and ____", "The tension of ____", "A state of ____", "Where ____ begins", or generate a more concise Chinese short phrase based on the Chinese context, but must be short, restrained, and designed.
Final output should be: a high-quality, modern, bright, high-contrast, flat, sharp, experimental, oblique planar perspective typographic poster, readable and well-designed, with bolder and more imaginative color schemes that do not fall into fixed blue-orange routines.
