Based On The Users Input Core Text Word Phrase Short

Based on the user's input [Core Text / Word / Phrase / Short Sentence / Letters], create a highly completed "Oblique Planar Perspective Typographic Poster." User input: [主题文字]; Text language: [中文 / 英文 / 中英混排]; Optional supplementary context: [____]; Optional emotional tendency: [____]; Optional prohibited elements: [____]. This is not an ordinary illustration, not a simple magnified text effect poster, and not a traditional front-facing flat layout, but a modern experimental typographic poster with "text as the main visual core." The overall must adopt "Oblique Planar Perspective Typography" to design: Text should not be completely placed on the front-facing plane, but should appear as if placed on two-dimensional planes at different tilt angles, through oblique baselines, perspective compression, plane deflection, angle cutting, dislocation composition, vector direction, directional lines, semi-transparent geometric planes, and modular color blocks, jointly establishing an effect that is "still flat design but with obvious sense of angle, spatial direction, visual tension, and vector relationships" in typography. First truly understand the literal meaning, emotional temperament, implied symbolism, cultural associations, psychological feelings, and semantic tension of the user input, then translate this understanding into a typographic poster system with "directionality, oblique relationships, planar perspective, and visual confrontation/connection." If the theme is emotional, focus on expressing through the distance relationship of oblique text planes, center of gravity shift, white space direction, line flow, module density changes, and color block pressure/release. If the theme is action-oriented, focus on expressing through oblique advancement, speed lines, directional arrows, perspective slices, dislocation planes, and vector trajectories. If the theme is relationship-oriented, focus on expressing through angle differences, intersections, overlaps, confrontations, wrappings, cuts, and intermediary structures between multiple text subjects, geometric planes, and graphic modules. If the theme is abstract conceptual, first find a simple abstract metaphor with visual translation potential, then build the image through oblique perspective typography, vector auxiliary systems, partial occlusion, layer shift, module repetition, and deformed grids. The overall image must present as a modern, sharp, bright, stylish, experimental, transmittable, visually memorable high-completion typographic poster. The user input text must become the first visual subject, the core content of the entire poster. Text can be horizontal, vertical, split, dislocated, grouped, reorganized, partially cut, partially occluded, nested, tilted, perspective-compressed, obliquely rotated, or even placed on different angled two-dimensional planes, but must maintain high recognition and readability. The viewer should at least obviously feel that the text is no longer flat on the front, but has entered a spatial system composed of multiple tilted planes and directional relationships. Please emphasize the following style features: text has oblique angle sense, near-far planar perspective, vector relationships in different directions, oblique baselines, auxiliary arrows, geometric cuts, module advancement, local frames, data-like annotations, small catalog-style auxiliary descriptions, a small number of dot matrix and path lines. Different texts or text groups can be placed on different tilted planes, forming perspective differences, directional conflicts, visual dialogue, or tension relationships. Graphic elements must be built around the text, not independent decoration; they should support, cut, wrap, extend the direction of the text, strengthen the 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 is not realistic, not photography, not retro literary cover, not Bauhaus old poster feel, not heavy texture style, not dark art poster, not ordinary PPT cover. It should be more contemporary, brighter, sharper, more digital, more reminiscent of design company proposals and exhibition posters. 【New Color Requirements】 Colors must be bright, transparent, clear, vivid, high contrast, but not fixed to blue and orange combinations, nor default to common blue-orange clash schemes. Based on the theme semantics, emotional temperament, and visual metaphor, automatically generate a set of bolder, more imaginative, fresher modern high-contrast colors. Unconventional combinations, jumping colors, strong clashes, cold-warm conflicts, neon feel, digital feel, futuristic feel, or artistic color schemes are allowed, but overall must still have order, aesthetic control, and design sense, not chaotic. Prioritize using a color organization of "2 main colors + 1 to 2 highlight accent colors + white space/structural anchor color." Explore but not limited to: fluorescent green + magenta + cold 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 + deep blue, fluorescent yellow + peach pink + purple, coral orange + cyan blue + white, multi-color digital patchwork. Each generation should form a set of independent color memory points; do not repeat a single fixed main scheme, and do not let the series all 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 form primary-secondary color distribution within the same large text group. A small amount of dark color is allowed as structural anchor, but the overall image should mainly leave a bright, clear, eye-catching, avant-garde color impression. Colors should serve semantic expression, not just for liveliness; the viewer should feel that the colors are "designed," not randomly stacked. Composition should be bold, tilted, with propulsion and direction, but control the order. Suggest using 1 core title subject, 1 set of oblique planar perspective text plane system, 1 set of geometric vectors and color block structure, a small number of auxiliary annotation information and dot-line symbols. The image needs enough white space to make high-saturation colors and tilted text more breathable and exhibition poster-like. Small text explanations, labels, numbers, English keywords, minimalist subtitles, or short sentences can be added to strengthen the concept, but must be restrained and not grab the weight of the main title. Auxiliary information can simulate language from visual identity systems or editorial design annotations, such as short words, parameters, indices, direction descriptions, concept labels. Typography must be modern, clear, eye-catching, powerful, and somewhat experimental. Chinese is suitable for geometric sans-serif, modern design-sense title fonts, narrow elongated fonts, or fonts with cut surface feel; English is suitable for bold grotesk, condensed sans, geometric sans, editorial sans. Local stretching, compression, slanting, perspective deformation, slice dislocation are allowed, but do not make text into real 3D extrusion, no heavy shadows, no real 3D modeling, no metallic text, no glass text, no embossed text. The focus is on "spatial sense in flat design," not "physical three-dimensional." Graphic elements can include: oblique rectangles, tilted planar frames, triangle cuts, 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, partial circular lines, zone labels, small index information. These elements must serve the theme semantics and typography, not become mere decoration. Please avoid: do not make an ordinary front-facing flat typographic poster, do not make a traditional minimalist typography cover, do not make realistic photography or illustration, do not make heavy 3D text, do not make a retro low-saturation or beige-tone poster, do not pile up unrelated graphics, do not over-decorate, do not make text unreadable, do not let the image be dirty and crowded, do not let graphics disconnect from theme words, do not repeatedly default to the same main color scheme. If suitable, automatically generate a very short subtitle or concept phrase to assist in explaining the theme, such as "Between ____ and ____", "The tension of ____", "A state of ____", "Where ____ begins", or generate a concise Chinese short sentence based on Chinese context, but must be brief, restrained, and design-oriented. Final output should be: a high-completion, modern, bright, high-contrast, flat, sharp, experimental, with oblique planar perspective typography feel, readable and design-sense, and with bolder, more imaginative, less fixed blue-orange scheme modern typographic concept poster. Insert discreet watermark in the lower right corner of the image, vertical text (rotated 90°), written "aipromptlabs.online", Calibri Light font, white color with low opacity (semi-transparent), medium size. Extreme sharpness on the face, fabric texture and typography of the letters. Shot on Canon EOS R5, 50mm f/2.8, studio light.