OpenZhenZhen AI 提示词画廊 · gpt-image-2.5 · image
植物研究主题日式超大文字海报
Botanical Study: Oversized Japanese Typography Poster
9:16当代日式编辑海报示例：将“植物”作为超大主视觉字形，与层叠叶片和叶脉纹样穿插遮挡；采用深森林绿、暖象牙白与低饱和朱红，配克制的植物研究项目信息和哑光印刷纸感。
提示词 / Prompt
中文提示词
为植物研究设计一张高品质9:16竖幅日式编辑海报。主视觉文字：植物。核心主体/图案：层叠叶片与细密叶脉纹样。图文互动方式：穿插与局部遮挡。主色调：深森林绿；辅助色：暖象牙白与低饱和朱红。配套项目信息：材料 / 形态 / 生长。除提供的文案外，不虚构日期、地点、品牌或产品事实。不要采用主体居中、标题置于侧边的普通排版。先以植物超大日式文字建立整个画面的视觉骨架，再让层叠叶片与细密叶脉纹样真正进入字形结构并形成穿插与局部遮挡。主关键词应具有超大几何体量；允许部分字形超出版心、错位或压边。图案与字形须有真实前后关系：部分叶片穿到字前，另一些退到字后或进入字腔/负空间；以自然交叠和交织叶脉线表现互动，不要把图案简单贴在文字表面。采用严谨但灵活的不对称编辑网格。组合大字、小字、竖排、边缘信息、细线和少量图像模块，同时保持清楚层级：远看先读主文字、主体与大色块；中距离看图文互动；近看才读到提供的项目文案。将植物作为一级信息，植物研究作为二级信息，材料 / 形态 / 生长作为置于边缘或留白的简短辅助文案。不要使用Lorem Ipsum或无意义填充文字。色彩控制在3–5种主色，以深森林绿和暖象牙白与低饱和朱红为基础，仅少量使用黑、白、灰。采用完整干净、饱和的印刷色面、高品质哑光艺术纸、极轻微纸纤维和克制胶印纹理。不要明显做旧、破损、黄斑、强颗粒或廉价复古滤镜。融合日本当代平面设计、文化展览海报、品牌编辑设计和字体实验，形成统一视觉系统，而非重复套版。避免普通居中排版、图文完全分离、图案仅贴在字面、所有元素处于同一平面、无意义英文、随机微型文字、UI卡片、圆角模块、过度极简导致空洞、混乱拼贴、霓虹渐变、廉价3D、明显做旧、四角星芒、sparkle、No.01、Vol.01或其他编号式系列标记。输出一张干净的9:16海报。
English prompt
Design a premium 9:16 vertical Japanese editorial poster for Botanical Study. Main visual text: 植物. Core subject/pattern: layered leaves and fine botanical vein patterns. Graphic-text interaction: interweaving and partial occlusion. Main color tone: deep forest green; auxiliary colors: warm ivory and muted vermilion. Supporting project copy: Material / Form / Growth. Do not invent factual dates, venues, brands or product claims beyond this supplied copy. Do not use the ordinary layout of a small subject centered with a title on the side. First build the whole image's visual skeleton from ultra-large Japanese typography using 植物; then let layered leaves and fine botanical vein patterns genuinely enter the glyph structure with interweaving and partial occlusion. Give the main keyword oversized geometric presence; allow selected glyph portions to crop beyond the live area, misalign or press against edges. The pattern must have a real front-to-back relationship with letterforms: some leaves cross in front, others recede behind glyphs or enter counters/negative space; use natural overlaps and interwoven vein lines rather than simply laying a picture over text. Use a rigorous but flexible asymmetrical editorial grid. Combine large and small type, vertical setting, edge information, thin rules and only a few image modules while keeping hierarchy clear: at a distance the main text, subject and large color blocks read first; at medium distance the graphic-text interaction appears; close up, the supplied project information is readable. Treat 植物 as primary information, Botanical Study as secondary, and Material / Form / Growth as concise supporting copy placed at edges or whitespace. Avoid lorem ipsum and meaningless filler. Limit the palette to 3–5 main colors based on deep forest green and warm ivory and muted vermilion, with only small amounts of black, white or gray. Use clean saturated printed color planes, high-quality matte art paper, extremely subtle paper fibers and restrained offset-print texture. No obvious distress, damage, yellow spots, heavy grain or cheap vintage filters. Contemporary Japanese graphic design, cultural exhibition poster, brand editorial design and experimental typography should fuse into one coherent visual system, not a repeated template. Avoid ordinary centered layout, complete separation of graphics and text, pattern merely pasted on top of letters, all elements on one plane, meaningless English, random microtext, UI cards, rounded modules, excessive empty minimalism, chaotic collage, neon gradients, cheap 3D, obvious distress, four-pointed stars, sparkles, No.01, Vol.01 or other numbered-series marks. Output one clean 9:16 poster.
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