Impasto Oil Poster Master Typography

Create a highly completed visual work with collectible value, the designer's poster style, and the author's aesthetic.

The overall style is: oil painting style + master-level typographic text design.
The composition must have a distinct impasto texture, using thickness differences to create a sense of three-dimensionality, materiality, rhythm, and visual layering, combining painterly texture with modern design and exhibition-level poster quality.

1. Core Composition Logic
Use a centered, skewed diagonal main composition.
The core visual subject of the entire poster is not a small cluster curled up in the middle, but an irregular composite color band or graphic carrying area that spreads widely along the diagonal.
This composite color band must naturally extend from one diagonal to the other, forming an oblique visual framework that runs almost across the entire page, with sufficient length, area, tension, and overall layout power.
It must be expansive, grand, and complete; it must not be cramped, cannot shrink into a lump in the middle, and must not make the layout appear cramped, narrow, or constrained.

This composite color band is both like a main brushstroke swept across thick oil paint, or as a refined thematic landscape, information zone, cultural slice, or visual carrier.
The color scheme of the composite ribbon cannot be fixed in writing; it must be automatically determined based on the user's final input of [City / Theme / Object / Inspiration].
Two to three main colors can be extracted from the most typical impression, cultural, environmental, architectural, and emotional colors of the theme, forming a sophisticated and layered comprehensive color relationship.
For example, it can display a composite color logic like "purple gold blue," "ochre red-cyan," "dark green gold," "gray-pink-brown," etc., but the specific colors must intelligently adapt to the input content rather than fixed templates.

2. Main Content Generation Logic
On this comprehensive color band unfolding diagonally, it carries core visual content strongly related to user input.

If you enter a city:
Automatically extracts the city's most recognizable landmarks, architecture, attractions, water systems, cultural spaces, historical symbols, urban memories, and representative cultural elements.

If you are entering an object, theme, or inspiration:
Automatically extract the most representative core elements, key scenes, symbols, structural messages, cultural cues, conceptual imagery, or visual motifs.

Don't make these content realistic piles, don't collage materials like travel flyers, and don't list them randomly.
It must be integrated through a method of "minimalist bird's-eye view / highly generalized graphical overhead view / design-based map composition / information-based landscape."
Let them be compressed, refined, and embedded within this diagonal composite color band, forming a unified, restrained, continuous, and orderly main graphic system.
The interior of the illustrated area must be continuous, fluid, and whole, allowing different elements to naturally unfold, connect, transition, and echo diagonally, creating a visual scroll-like effect.
Don't squeeze in the middle or leave both ends empty, don't let the main subject break apart, and don't narrow the visual focus to a specific spot.

3. Background and Blank Space
The background is uniformly off-white, warm white, or a textured paper background with a slightly aged paper texture.
The paper surface should have a natural fibrous feel, fine graininess, and slightly handmade paper or high-end printed paper texture.
The overall background must be clean, restrained, and quiet; avoid excessive decoration and avoid complex patterns that distract the main subject.
Large areas of blank space must be preserved, but this blank space is not hollow or powerless; rather, it serves the main diagonal structure with advanced blank space.
Blank space should make the main subject stand out, and also give the text layout enough breathability, spatial sense, exhibition, and layout tension.

4. Text Systems and Layout Logic
The text system must be an important part of the entire poster, not just the explanatory text posted afterward.
The overall text generally adopts a serif font system, reflecting a master-level typesetting effect that combines sophistication, restraint, classicism, cultural flair, and design sense.
There must be clear hierarchy between titles, main copy, sub-text, key information, small notes, and annotative small hand, and true layout rhythm is formed through font size, density, staggering, alignment, blank space, gathering and dispersion, and echoing.

Layout priorities must be clearly defined:
The comprehensive color strip and main graphic subject that spread widely along the diagonal are the primary visual framework and main narrative channel of the entire poster, taking priority over ordinary text layout.
The main body of this diagonal must remain continuous, complete, stretched, and unbroken.

All major headings, pinyin/large English fonts, knowledge point modules, decorative copy, and explanatory text must comply with the integrity of this diagonal main body.
Do not cut the main body horizontally in the middle, break it in half, or create obvious obstruction or disruption in the most critical continuous areas of the main body.
A complete, clear, and continuous visual channel must be reserved for the diagonal subject.

The text system should mainly be distributed in the blank areas on both sides of the main body, the blank spaces at the corners, and the edge layout areas, or arranged along the edges of the main body, rather than being roughly pressed into the center of the main section.
If a small amount of text is indeed needed inside the main body, it can only be a very small, low-interference, embedded small annotation, such as partial names, landmark annotations, or small tags, and must naturally fit the internal structure of the main body and not form large-scale cross-sectional layouts.

5. Pinyin / Large English font materials and color schemes
Posters must include a "Pinyin/English Large Font Title" as one of the core visual texts.
If the user inputs a Chinese city, Chinese theme, or Chinese object, its pinyin is automatically extracted as a large character title;
If the input content is more suitable for English expression, it can automatically generate the corresponding large-font English title.

This large title must have a distinct impression of hot stamping, metallic texture, foil printing, or embossing, presenting a high-end, delicate, restrained material effect with a sense of printing craftsmanship.
It can have slight reflection, embossed effects, embossed effects, foil texture, or paper stamping texture, but it should not look tacky, cheap, overly flashy, or overly commercialized.

The color scheme for large characters in this material cannot be locked into a single pure gold.
It must automatically judge based on user input [City / Theme / Object / Inspiration] and flexibly select the most suitable material color scheme to avoid the image appearing rigid, stiff, or monotonous in this area.

One of the following two flexible solutions can be adopted:

Option 1: Unified monochrome
Choose a material color that best represents the city/theme's temperament.
This color can be gold, antique gold, copper gold, champagne gold, rose gold, silver, platinum, ink gold, and other metallic colors;
It can also be other colors with a metallic texture, such as metallic blue, metallic green, metallic purple, metallic red, gray-silver blue, bronze green, warm brown gold, and jet black metallic tones.
The focus is not on "it must be gold," but on "having a high-level material language."

Option 2: Mix and match colors in a comprehensive way
Use 2-3 colors that coordinate with each other for a mixed color scheme.
These colors can be derived from the city/theme's main tone, impression colors, architectural colors, natural colors, cultural colors, or emotional colors, and are presented through colored foil printing, alternate color foil printing, partial color contrast, and mixed metallic layering.
This mixed color scheme must be sophisticated, restrained, and designed. Don't make it cheap gradients, don't be flashy, and don't ruin the overall temperament.

Whether using a monochrome or mixed color scheme, pinyin/large English fonts must have a "stamping feel" in the material, a "thematic feel" in color, and "flexibility" visually, forming a unified relationship with the diagonal main body and the overall layout.

This pinyin/large English character cannot exist in isolation, nor can it be inserted horizontally into the center of the diagonal body to cut off the main body.
It should serve as the layout pivot of the entire poster, arranged in the blank space, the outer edge of the main body, the layout area at the edges, or unfold with the overall airflow of the layout, forming a resonance and typography tension with the main body.
If both the Chinese title and large pinyin or large English characters appear, a clear and sophisticated hierarchical relationship should be formed:
Pinyin / large English fonts can serve as the main visual title;
Chinese titles can serve as echoing titles, subtitles, or auxiliary typographic elements;
Both must be carefully arranged and must never be simply stacked vertically.

6. Surrounding Information and Key Knowledge Points
The surrounding content should not be vague; it must automatically add information centered around the theme that includes "highlights, knowledge points, and reading value."
These contents are automatically determined by the model based on the user's final input and do not require additional user input.

For city directions:
Automatically adds the city's related nicknames, historical positioning, cultural labels, geographical features, representative buildings, scenic notes, cultural highlights, city spirit, typical symbols, concise knowledge points, and more.

If it is the object direction:
Automatically supplement their functions, materials, structure, sources, uses, cultural background, representative features, technical points, and more.

If it's an abstract topic or inspiration:
Automatically supplements with concept extraction, style keywords, symbolic meanings, background knowledge, extensibility highlights, associative cues, and more.

Don't mechanically list these knowledge points in manuals, and don't pile them all at once.
It must be disassembled, grouped, interwoven, integrated, and arranged in a design way to become part of the picture.
They should be naturally distributed around the main diagonal in the surrounding blank areas, forming a layout structure that is both informational and decorative.
Surrounding information should adopt an "avoidance layout," naturally unfolding around the main body's edges, forming a circle, complementary, and supplementary relationship, rather than intruding into the central channel of the subject.
There should be variations in density and breathing between information blocks, making them rich but not crowded.

7. Signature
Keep a miniature signature in the bottom right corner of the screen:
“NAICHA DESIGN”
The signature font should be restrained, clean, and low-key, not overshadowing the main topic.

8. Overall temperament goals
The entire poster should present the following overall visual impression:
The main body is extended, the layout is spacious, and the main diagonal structure is fully unfolded;
The blank space is premium and breathable;
Rich in information but not cluttered;
From a distance, it has a distinct main visual and strong memorable points;
Up close, it contains rich knowledge points and layout details;
It combines painterly, design, information, readability, and collectibility;
Works at the level of a high-end exhibition poster, city visual poster, design yearbook cover, or art book inner page.

9. Problems to avoid
Do not shrink the area shown in the middle into a lump;
Don't make the main body too small;
Do not let the main diagonal diagonal diagram be cut off by large text or information modules;
Don't let the middle section of the main body be interrupted by the headline insertion;
Don't let pinyin or large English characters block the main body like roadblocks;
Don't let the layout feel narrow, cramped, or restrictive;
Don't use the template of travel flyers for your travels;
No low-level collage feel;
Don't want the usual map screenshot feel;
Do not use manual-style layouts;
Don't want cheap illustration style;
Don't fill the entire page with elements;
Don't let words become mere auxiliary explanations;
Don't let the large print look tacky, rigid, monotonous, or overly commercialized.

10. Ultimate Goal
The goal is to create a complete and sophisticated work by combining "a comprehensive ribbon body widely unfolding along the diagonal line + minimalist top-down elements / diagram system + pinyin with stamped or metallic textures and flexible colors / large English fonts + surrounding knowledge + advanced serif layout + large areas of blank space."

In the end, the whole picture is:
From a distance, it creates a strong visual impact,
Up close, there is rich reading content and design details,
The main content is continuous, the text is uninterrupted, the layout is grand, the layout is sophisticated,
Overall, it has collectible value, authorship, and masterful aesthetic accomplishment.

Final user input:
[City / Theme / Subject / Inspiration]: _____
Size requirements: _____ (e.g., 3:4)