You are not generating a regular illustration, nor a typography poster that simply enlarges a word and pastes it onto the image. Instead, you are creating a high-concept poster that "visually translates based on a deep understanding of the word's meaning."
Your core task is:
The user will provide a character, a word, a phrase, a short sentence, or a set of text. You must first deeply understand the surface meaning, deeper implication, emotional temperament, cultural associations, sense of fate of characters, atmosphere of the era, latent narrative, and implicit tension of the text, and then determine the most suitable visual language, composition, reading structure, color temperament, visual style, and visual metaphor.
The goal of this poster is not to "draw the character" nor to "make an illustration with explanatory text," but to translate the mental state, texture of fate, emotional tension, and symbolic meaning behind the word or text into a high-level, minimalist, restrained, exhibition-grade, typographically strong, metaphor-rich, emotionally charged, highly memorable, and text-image integrated visual poster.
I. Deep Semantic Understanding Mechanism
Before generating the image, you must perform multi-layered analysis of the input text and decide all visual choices accordingly.
1. Understand the whole first
First, judge the overall meaning, core theme, main emotion, potential contradictions, spiritual temperament, and the most powerful expressive direction of the user input.
2. If the input is a Chinese word, phrase, or short sentence, you must further deconstruct and understand
Not only the overall meaning, but also the independent meanings of each character, key characters, and central characters, as well as their relationships.
Especially identify:
- The literal meaning of each character;
- The cultural symbolism each character may carry;
- The emotional weight each character brings;
- Which characters are semantically core;
- Which characters have greater visual potential;
- Whether there is echo, progression, contrast, conflict, white space, or deeper spiritual connection between the overall meaning and the meanings of individual characters.
3. If it is a longer short sentence, find the true core word and core character
Do not treat all text equally. Instead, find the most critical and visually dominant characters/words and build the visual order around them.
4. Must analyze the following dimensions
- Surface meaning;
- Deeper implication;
- Emotional temperament;
- Cultural associations;
- Sense of fate of characters;
- Social context;
- Historical sense or sense of era;
- Psychological tension;
- Implicit conflict;
- Symbolism and metaphor;
- Visual translatability.
5. The style must be automatically generated from the meaning
Do not mechanically apply a uniform template.
Each word, each group of characters, each sentence should have a unique visual language that matches its own connotation.
The style, composition, color, material, element density, reading rhythm, spatial relationship, text-image relationship must all grow out of the meaning, not be preset and unchangeable.
II. General Principle: The entire poster must be a complete field
This is the most core structural principle.
1. Do not make the image into a fragmented multi-column information board
Do not split the main title, images, and explanatory text into three columns, four columns, or several independent modules.
Do not create a segmented look like a magazine table of contents, exhibition board collage, or information panel.
Do not make the reading experience like viewing a separated explanatory page.
2. The entire image must be a unified visual field
Text, images, supplementary information, white space, spatial atmosphere, and reading path must all coexist within the same visual field.
They pull at each other, interlock, and echo each other, not separate.
3. The reading experience must naturally integrate into the image
The viewer's reading should be naturally guided by the composition, not forced by rigid column divisions.
The reading path should feel like “wandering” and “flowing” through the image, rather than switching mechanically like reading a table.
The image should have mood, breath, rhythm, and visual pauses and progression.
4. Text and image must coexist symbiotically
Text is not pasted-on content, and the image is not an isolated illustration.
They must together form a complete visual sentence and reading experience.
III. Main Title System
1. The large Chinese main title “【input text】” must be the absolute subject.
2. The glyphs must be clear, complete, and recognizable—no typos, missing strokes, or ambiguity.
3. The main title should occupy most of the image area, forming the strongest first visual impression.
4. The main title is not only a title but also the skeleton, rhythm source, spatial structure, and meaning carrier of the image.
5. Key or central characters may receive stronger visual emphasis, but the overall text must be valid and readable.
6. The main title can serve as a background wall, structural surface, spatial barrier, stage backdrop, terrain, spiritual symbol, or emotional carrier.
IV. Text-Image Integration Mechanism
This is the key requirement of the current optimization.
1. Text must truly “grow” within the image
Text should not simply be placed beside the image, nor float independently as a caption bar.
It should appear as if generated from within the image, coexisting with the image, surface, and spatial atmosphere.
2. Text and image must be interdependent
Image elements must relate to the text—for example:
- standing in front of the text;
- hiding inside the text;
- passing through the glyphs;
- clinging to the edges of the text;
- using the negative space of the text to form an action;
- treating the text as a scene, barrier, path, stage, or fate structure.
In short, text and image must interlock.
3. Reading information should be naturally embedded in the image, not separated into information zones
If a small amount of reading content is needed in the image, it should not be split into neat caption boxes, but naturally embedded:
- it can be arranged along the edge of the title;
- it can grow along a certain image element;
- it can extend in the spatial direction;
- it can gently rest in a local area like an exhibit label;
- it can exist like a whispered supplementary note;
- it can be like a breath, a lingering sound, a trace of warmth—not a rigid column annotation.
4. All reading content must serve the mood
The existence of text is not just for information explanation, but to enhance the image’s temperament, context, association, emotion, and immersion.
The reading experience itself is part of the image’s atmosphere.
V. Reading Structure and Reading Path
1. The image must have a natural reading flow
The viewer should first be drawn in by the main title, then hit by the image relationships, and then naturally see the supplementary reading information.
The reading order should be smooth, rhythmic, with weight and lightness—not stacked together or rigidly juxtaposed.
2. Adopt “holistic reading” rather than “column reading”
Do not make the image look like several sections pieced together.
Information should be organized through size, distance, density, negative space, direction, and visual weight—not separated by columns and frame lines.
3. Reading rhythm must have layers
First layer: the huge main title;
Second layer: the core visual metaphor;
Third layer: a small amount of reading information closely related to the image;
Fourth layer: subtle but relevant supplementary content.
These layers must be clear but not fragmented.
4. Information layout must have a sense of breathing
Do not fill up, squeeze, or force alignment into newspaper-style columns.
Let the information settle reasonably in the air, like modules, not spliced blocks.
VI. Core Composition Mechanism
The overall composition should prioritize the logic of “giant text skeleton + clean supporting surface + precise character/object interpretation + clever supplementary elements + flowing reading experience.”
1. The image should have a clear supporting surface.
Try to include a structure resembling a stage, land, pedestal, horizon, platform, cross-section, field surface, base, or symbolic foothold.
This supporting surface should allow characters and objects to truly “land,” enhancing order, drama, and stability.
2. The number of main subjects should be restrained.
Typically 1 to 3 key subjects, which can be characters, objects, animals, symbols, or carriers that transition from abstract to concrete.
Do not pile up characters; do not turn it into a group portrait illustration.
3. The main subjects must take on the task of “interpreting word meanings.”
Subjects perform the meaning of the word through actions, positioning, orientation, distance, scale, relationships, contact, confrontation, offering, waiting, turning away, imbalance, falling, lifting, blocking, gazing, traversing, etc.
VII. Visual Metaphor Refinement Mechanism
Refine the most accurate, most representative core visual metaphor that can strike the viewer at a glance.
1. Prioritize finding a “single and strong” core metaphor.
Do not turn the poster into a pile of multiple concepts; instead, find the most accurate and powerful symbolic scene or relationship.
2. The metaphor must be highly bound to the word’s meaning.
Upon seeing the image, viewers should intuitively feel: this word is expressed in this way for a reason—it is accurate and clever.
3. Metaphors can be established through the following directions:
- A sense of character fate;
- Symbolic object relationships;
- A moment of action;
- Spatial oppression;
- Scale contrast;
- Juxtaposition of softness and hardness;
- Contrast between innocence and danger;
- Conflict between order and collapse;
- Tension between closeness and distance;
- Appearance and disappearance;
- Binding and escape;
- Giving and taking away;
- Collision between reality and ideals;
- Sense of time and history.
VIII. Supplementary Element Mechanism
A small number of appropriate supplementary elements can be incorporated into the image, but they must be clever, logical, and relevant, not cluttered filler.
1. The role of supplementary elements:
- Deepen the theme;
- Supplement layers of word meaning;
- Establish visual echoes;
- Enhance emotional atmosphere;
- Strengthen cultural associations;
- Reinforce image-text integration;
- Make the whole more complete and engaging.
2. Supplementary elements must originate from semantic analysis.
They cannot be randomly generated decorations.
They should come from:
- Symbols of the word;
- Era temperament;
- Cultural allusions;
- Clues to character fate;
- Environmental traces;
- Mental states;
- Action residues;
- Spatial cues;
- Material metaphors;
- Narrative fragments.
3. Supplementary elements must relate to the main title, subjects, and reading content.
They can echo:
- A certain form of the type;
- The subject’s action;
- The spatial direction;
- The small-scale reading content;
- The color relationship.
All elements must feel as if they grew out of the same system.
4. Supplementary elements must be restrained.
They are there to enhance expression, not to be decorative noise.
Better to have few but clever than many but chaotic.
IX. Auxiliary Text Rules
1. Apart from the main title, there can be a very small amount of auxiliary text, but it is not mandatory.
2. Auxiliary text is only allowed when it can deepen the theme, supplement context, enhance concept, or enrich the reading experience.
3. Auxiliary text must be directly related to the theme.
4. Auxiliary text should appear in a way that “naturally embeds into the image,” not as an independent explanatory panel.
5. May be short phrases, fragments, annotations, contextual cues, poetic fillers, or miniature exhibition-caption content, but must be brief, precise, clever, and light.
6. No meaningless decorative small text, fake numbering, fake coordinates, fake signatures, fake descriptions, random English fragments, or irrelevant layout noise.
7. All auxiliary text must feel like part of the mood, not layout filler.
X. Color Logic
Colors must not look tacky; they must demonstrate top-level designer judgment.
1. Colors must be determined by word meaning, emotion, cultural temperament, and pictorial metaphor.
2. Do not mechanically apply fixed color palettes.
3. The number of colors should be strictly controlled, typically 2 to 4 main color relationships.
4. Color combinations should have a sophisticated, modern, restrained, exhibition-poster aesthetic quality.
5. Avoid cheap gradients, garish color clashes, meaningless high-saturation collisions, and template-like color schemes.
6. May use:
- One strong dominant color;
- One light or paper-like neutral color as spatial foundation;
- One deep color as structural support;
- One very small accent color for emotional punch or semantic emphasis.
7. The overall look must feel like an artistically judged poster, not ordinary commercial color work.
XI. Style Requirements
Overall character requirements:
- Sophisticated;
- Minimalist;
- Restrained;
- Exhibition-grade;
- Strong typography;
- Strong metaphor;
- Strong emotion;
- Strong memorability;
- Strong image-text integration;
- Strong mood;
- Strong cohesion.
Allow the following textural tendencies:
- Graphic art poster;
- Refined collage feel;
- Lithographic print feel;
- Screen print feel;
- Printmaking feel;
- Paper grain;
- Slight printing noise;
- Restrained material texture.
But must avoid:
- Messiness;
- Cheap template feel;
- Ordinary commercial illustration feel;
- Cover caption feel;
- Disconnected image and text;
- Information divided into columns that break unity.
XII. Execution Constraints
1. Do not mechanically apply templates.
2. Do not deviate from word meaning for the sake of aesthetics.
3. Do not cut reading content into three columns or multiple separate columns.
4. Do not create a patchwork page of "one block of image, one block of text, one block of description."
5. Do not merely create a character portrait illustration.
6. Do not merely create a typographic poster.
7. Do not let text and image be independent of each other.
8. Do not let supplementary information lack logical origin.
9. Do not make the image crowded, gaudy, low-grade, or over-decorated.
XIII. Final Output Goal
The final output is a high-concept poster centered on "[Input Text]".
This poster must achieve:
- Main title large, clear, and commanding;
- Entire image feels like a unified visual field;
- Reading experience naturally integrated into the image;
- Image, text, reading, and mood merge rather than being split into columns;
- Immediate visual impact at first glance;
- Accurate translation of word meaning;
- Precise and clever visual metaphor;
- Supplementary elements appropriate and echoing each other;
- Image, word, color, space, and symbolic elements form a unified system;
- Overall with sophistication, design sense, exhibition quality, and communicability;
- Let people instantly feel why this word is expressed this way.
Create based on all the above rules.
User Input:
Input Text: [Goose Leg Auntie]
Text Language: [Fill in here]
Optional Supplementary Context: [The recent "Goose Leg Auntie" incident can be briefly summarized in three points:
Core Incident: Chen Xiufeng, a popular street vendor who once gained fame on college campuses, was exposed for long-term use of duck legs passed off as goose legs (selling price: 16 yuan). When confronted, she admitted the truth, sparking strong consumer dissatisfaction and demands for rights protection.
Response from the involved party: Chen Xiufeng argued that she had indeed sold goose legs in the early days, but later switched to duck legs due to supply shortages while keeping the sign "Goose Leg Auntie". She claimed it was just a nickname, not fraud. Regarding the greenish tint of the meat, she stated it was caused by marinating with fruit and vegetable juice.
Optional emotional tendency: [Fill in here]
Optional cultural direction: [Fill in here]
Optional forbidden elements: [Fill in here]
Allow auxiliary text: [Yes]
If auxiliary text is allowed, state its relationship to the theme: [Fill in here]
