Kurvenbasiertes redaktionelles Plakatdesign-Prompt

First determine the most important main curve, then organize the subject, Typography, images, information, and whitespace around it. The curve is not decoration but the visual skeleton and reading path of the entire poster. Main axis: [Theme]: ____ [Chinese Title]: ____ [English Title]: ____ [Main Visual]: ____ [Curve Composition Method]: Curved large type / Curved surface fold / Spiral collage / Curve linking / Other [Supporting Materials]: ____ [Primary Color]: ____ [Secondary Color]: ____ [Accent Color]: ____ [Aspect Ratio]: 9:16 Generate a strongly designed curved composition poster, using the visual language of Contemporary Editorial Poster x Postmodern Graphic Design x Cultural Exhibition Poster. Choose one main curve method based on the content: Curved large type: Let large Typography itself undergo stretching, bending, cropping, and out-of-frame effects, with the letterforms directly becoming the curved main visual. Curved surface fold: Let paper, fabric, architectural surfaces, or other bendable solids form a large curved surface, and place text, images, and information directly on the curved surface, bending naturally with perspective. Spiral distance: Use an open spiral path to link photos, tickets, text, figures, and small visual nodes, gradually guiding from the periphery to the core. Curve linking: Use one continuous S-shaped or arc-shaped main line to pass through multiple visual nodes of different scales, turning scattered images into a complete narrative. The entire poster retains one strongest curve direction; other lines or elements may only follow or balance it, without creating new visual competition. The main title must participate in the composition, and may shift, cross zones, crop, be partially obscured, or change scale along the curve - do not simply place it neatly at the top. The image allows 2-3 visual languages to collide, such as photography, illustration, handwriting, color blocks, paper, tickets, but all materials must revolve around the same composition. Control clear visual hierarchy: first glance sees the main curve and main visual; second glance sees the large title; third glance notices the graphic and text information arranged along the curve path; only at the end see small auxiliary elements and date/location. Retain large areas of effective whitespace, do not use fully symmetrical layouts; use asymmetry, cropping, scale imbalance, and subtle color shifts to give the layout a loose postmodern editorial feel. Control colors within 3-5, building recognition with a large primary color, one strong contrast color, and accent colors. The overall curve must be clear, the visual must be striking, the information rich but not chaotic, with an artistic temperament of manual layout and design notebooks.