Affiche de promotion d'exposition culturelle à haute densité

【主题】：[主题] 【中文主标题】：[中文主标题] 【英文标题】：[英文标题] 【核心主视觉】：[核心主视觉] 【异形图像方式】：不规则窗口 / 主体破框 / 局部切片 / 图像融合 【压角方式】：巨字残片 / 双角压入 / 主体破框 / 图形压角 【辅助视觉系统】：[辅助视觉系统] 【背景信息层】：[背景信息层] 【主色调】：[主色调] 【强调色】：[强调色] 【日期 / 机构】：[日期 / 机构] 【画面比例】：9:16 Generate a high-density poster with a strong editorial design sensibility and cultural exhibition character. The core objective is not to reduce information, but to establish a clear visual hierarchy that allows large-scale Chinese typography, irregular main imagery, lines, graphic elements, small-scale information, and background textures to coexist simultaneously, producing a layout effect of "controlled chaos within order." First determine 1 absolute primary visual anchor, then set 2–3 secondary visual anchors. The primary visual can adopt irregular cropping, contour windows, partial frame-breaking, or image fusion - do not simply use a standard rectangular photograph. The large-scale Chinese title must genuinely participate in the composition, pressing in from the edges, partially cropped, or interweaving with the main image through overlap, becoming part of the structural layout rather than simply placed beside the picture. Maintain medium-to-high information density, incorporating Chinese and English titles, dates, institutions, short descriptions, vertical text, localized legends, data, coordinates, lines, or small image slices - but different elements must exhibit clear scale disparity. Create strong typographic jumps between ultra-large characters, medium-sized titles, and micro-information; do not keep all text sizes similar, and do not distribute content evenly across the entire frame. The entire poster should use only one set of theme-related auxiliary visual language. For example, an urban theme uses route and block graphics; a conceptual theme uses flow lines and image fragments; a nature theme uses botanical line drawings and specimen information; a meteorological theme uses isobars, wind directions, and radar charts. Do not stack multiple unrelated decorative systems simultaneously. The background must also participate in the design, incorporating extremely faint patterns, maps, structural diagrams, archival text, data residue, or material textures so that negative space has content - but the background layer must be clearly subordinate to the main subjects. Allow text over images, frame-breaking imagery, lines crossing regions, and small image slices layered into the layout. Enhance the postmodern editorial feel through partial occlusion and intentional misalignment, but all elements must be organized around a single visual center. Maintain the overall structure of 1 primary anchor + 2–3 secondary anchors to avoid genuine chaos. Restrict the palette to 3–5 primary colors and establish a clear chromatic stance. High-saturation primary colors can be paired with black and white, or a unified monochromatic system can be adopted. Do not allow multiple high-saturation colors to compete on equal footing. The reading sequence should be: first, the viewer sees the main subject and large-scale corner-pressing text; second, discovers the irregular imagery, graphic elements, and line relationships; third, reads the dates, captions, data, and marginal information. The final result should resemble a mature cultural exhibition poster, design school visual, or editorial publication: information-rich, hierarchically complex, with localized collisions - yet retaining a clear visual center when scaled down. Do not produce an infographic-style PPT, and do not randomly fill the frame merely for the sake of "complexity."