Osmanthus Wine Youth Lost

Design a high-end oriental editorial poster / cultural visual poster / solar term poster / literary cover poster for the [theme]. The overall design should not be ordinary, clean illustrations, but rather a "visual afterimage left by time, paper, air, and old printing together." 

The core highlight of the image is the use of large symbolic silhouettes related to the [theme], such as the [thematic symbol], allowing these silhouettes to be heavily cropped from above, below, or the edges of the frame. Instead of displaying the object completely, only parts, edges, contours, and truncated forms are shown, allowing the graphic to naturally intrude from outside the frame, creating a sophisticated, restrained, and rich compositional tension. 

These silhouettes cannot be clean vector graphics, nor can they be ordinary illustrations. They must be processed into half-tone dots, screen printing grains, old newspaper screen textures, risograph vintage print textures, damaged ink, missed prints, misaligned color registration, paper fiber erosion, rough edges, partial fading, and partial breakage effects. The graphics should look like afterimages left after being printed on old paper many years later, not just freshly drawn designs. 

The composition adopts a "layered climate" approach. The upper half of the image uses warm-colored graphics, such as rust red, ochre, dead leaf orange, old cinnabar, caramel brown, and dark orange, to express the external emotions, heat, memory, vitality, maturity, or historical sense within the [theme]. The lower half of the image uses cooler-colored graphics, such as light blue, misty blue, gray-green, cool blue-gray, freshwater blue, and diluted blue, to express the inner emotions, air, moisture, distance, silence, dreams, echoes, or spirituality within the [theme]. 

The background cannot be pure white. The background must have a warm old paper texture, using off-white, ivory, light beige, linen white, and old book page colors as the base colors, with fine paper grains, horizontal fibers, slight stains, faded grains, print indentations, and old poster wear and tear. All colors should appear as if they have been absorbed by the paper: low saturation, softness, dryness, slightly faded, no bright gloss, and no modern digital gradient effect. 

Leave a large breathable blank space in the center or visual center of the image to place the main headline of the [Theme]. The main title should serve as the spiritual anchor point of the image. Fonts can be chosen according to the theme: Eastern themes use Song typeface, inscription-inspired fonts, calligraphy-inspired fonts, or modern Chinese magazine title fonts; Modern themes can use restrained serif fonts, editorial magazine fonts, or minimalist title fonts. Text colors should not be pure black; use dark green, gray-green, dark tea, old ink, or faded brown to make the text look like it is printed on paper. 

Text layout should have an editorial design sense: main headings should be large and restrained, subtitles small but refined, and include English translations, dates, short sentence descriptions, vertical text, sidebar information, numbering, footnote notes, and illustrated small text. Small text should not overshadow the main text; it should resemble explanatory text found on old book pages, plant archives, poetry collection covers, or exhibition posters. The text and graphics should form a breathing relationship and not be crowded. 

The image needs to have a "paper climate": the graphics are not decoration, but the accumulation of air, temperature, time, memory, and emotion on the paper. The warm parts resemble sunlight, flames, autumn leaves, history, and the lingering warmth of life; The cool parts resemble dew, mist, rivers, night, silence, and inner echoes. There is no need for rigid separation between upper and lower colors; instead, natural transitions occur through blank space, paper textures, half-tone dot density, and color dilution. 

Overall style references: East Asian solar term posters, vintage screen printing, risograph posters, old book covers, plant archive atlases, poetry collection binding, folk art printing, half-tone dots on old newspapers, Japanese seasonal posters, modern Eastern editorial design. The images should have a sense of high-end design, collectibility, culture, paper touch, time, and restrained poetry. 

Avoid: Don't make it into ordinary commercial illustrations, don't use clean vector graphics, don't overly realistic, don't have a plastic texture, don't use neon colors, don't use high-saturation gradients, don't use a cartoonish style, don't overly complex backgrounds, don't center the main subject completely, and don't let the text look like post-processing. 

The final image should resemble a thematic print preserved by time: large, cropped symbols create a contrast of warm and cool at the upper and lower edges, blank spaces in the middle to support the title, and the paper texture, halftone dots, missed prints, and fading give the entire painting a sophisticated texture of old paper, climate, memory, and poetic afterimages. 

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This time, the theme is poetry appreciation: Wanting to buy osmanthus flowers and bring wine together, it is never like youthful wandering
You need to provide at least 5 related knowledge points about different logic and styles

The same logic is given four times, each time featuring a different famous poem about flowers

Each image has a completely different color scheme

Ratio 16:9